Risultati della ricerca per: 2008

Sulla nuvola – On the cloud


Sulla nuvola

Dolce rumore di nulla,
culla di sogni e sospiri,
là dove il tepore è sogno,
dove la stella guida da sempre.

Lo riconosci il sentiero?
Ricordi l’incisione che facesti
a quella quercia da bambino?

Non hai tempo, non hai mantenuto
l’antica promessa – volevo respirare
tutti i sogni del cuore – essere vivo!

Nuvola soffice t’accompagna
non è fuga, è la saggezza del ricordo:
Offerta di un dono che ti faccia aprire le ali.

Percorso a ritroso per riallacciare
un filo sottile alla memoria del cuore,
in armonia fatata che sa danzare
con colorate movenze di farfalla.

Respira oggi tutta la dolcezza,
sia miele a nutrire il tuo essere
perchè riaprendo gli occhi
saprai manifestare la perduta essenza
della tua iridescente anima.

31.05.2008 Poetyca


On the cloud

Soft sound of nothing
cradle of dreams and sighs,
where the warmth is a dream,
where the guiding star forever.

You recognize the path?
Remember that you made the incision
that oak as a child?

Do not have time, you have maintained
the old promise – I breathe
all the dreams of the heart – be alive!

Cloud soft with thee
not escape, is the wisdom of memory:
Offer a gift that makes you open the wings.

Way back to resume
a thin wire to the memory of the heart,
magic that can dance in harmony
movements with colorful butterfly.

Breathe Today all the sweetness,
and honey to nourish your being
because opening his eyes
know the show lost essence
Iridescent your soul.

31.05.2008 Poetyca

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

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

The best of Rolling Stones


I Rolling Stones sono un gruppo musicale rock britannico, composto da Mick Jagger (voce, armonica, chitarra), Keith Richards (chitarre, voce), Ronnie Wood (chitarre, cori) e Charlie Watts (batteria, percussioni). È una delle band più importanti e tra le maggiori espressioni della miscela tra i generi della musica rock e blues, quel genere musicale che è l’evoluzione del rock & roll anni cinquanta, da loro rivisitato in chiave più dura con ritmi lascivi, canto aggressivo, continui riferimenti al sesso e, talvolta, alle droghe pesanti.

Per il loro essere trasgressivi furono chiamati i “brutti, sporchi e cattivi” e contrapposti ai più rassicuranti Beatles, anche se tale contrapposizione fu spesso creata dagli stessi Rolling Stones che si comportavano in modo volutamente antitetico rispetto ai Beatles (con i quali ebbero peraltro sempre un ottimo rapporto di stima e amicizia), proponendo così un modello alternativo a uso e consumo della stampa musicale. I Rolling Stones sono stati, e sono tuttora, un’autentica pietra miliare nell’evoluzione della musica rock del XX secolo, portando sotto i riflettori il malcontento e di conseguenza la protesta di intere generazioni, incarnando così il travagliato spirito dei grandi bluesman del passato e scegliendo il titolo di una canzone di uno di questi (Muddy Waters) come nome del loro gruppo.

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

The Rolling Stones are an English rock band formed in London in 1962. The first settled line-up consisted of Brian Jones (guitar, harmonica), Ian Stewart (piano), Mick Jagger (lead vocals, harmonica), Keith Richards (guitar), Bill Wyman (bass) and Charlie Watts (drums). Stewart was removed from the official line-up in 1963 but continued as occasional pianist until his death in 1985. Jones departed the band less than a month prior to his death in 1969, having already been replaced by Mick Taylor, who remained until 1975. Subsequently, Ronnie Wood has been on guitar in tandem with Richards. Following Wyman’s departure in 1993, Darryl Jones has been the main bassist. Other notable keyboardists for the band have included Nicky Hopkins, active from 1967 to 1982; Billy Preston through the mid 1970s (most prominent on Black and Blue) and Chuck Leavell, active since 1982. The band was first led by Jones but after teaming as the band’s songwriters, Jagger and Richards assumed de facto leadership.

The Rolling Stones were in the vanguard of the British Invasion of bands that became popular in the US in 1964–65. At first noted for their longish hair as much as their music, the band are identified with the youthful and rebellious counterculture of the 1960s. Critic Sean Egan states that within a year of the release of their 1964 debut album, they “were being perceived by the youth of Britain and then the world as representatives of opposition to an old, cruel order — the antidote to a class-bound, authoritarian culture.”[1] They were instrumental in making blues a major part of rock and roll and of changing the international focus of blues culture, to the less sophisticated blues typified by Chess Records artists such as Muddy Waters, writer of “Rollin’ Stone”, after which the band is named. After a short period of musical experimentation that culminated with the poorly received and largely psychedelic album Their Satanic Majesties Request (1967), the group returned to its bluesy roots with Beggars’ Banquet (1968) which—along with its follow-ups, Let It Bleed (1969), Sticky Fingers (1971) and Exile on Main St. (1972)—is generally considered to be the band’s best work and are considered the Rolling Stones’ “Golden Age”. Musicologist Robert Palmer attributed the “remarkable endurance” of the Rolling Stones to being “rooted in traditional verities, in rhythm-and-blues and soul music”, while “more ephemeral pop fashions have come and gone”.[2]

The band continued to release commercially successful records in the 1970s and sold many albums, with Some Girls (1978) and Tattoo You (1981) being their two most sold albums worldwide. In the 1980s, a feud between Jagger and Richards about the band’s musical direction almost caused the band to split but they managed to patch their relationship and had a big comeback with Steel Wheels (1989) which was followed by a big stadium and arena tour. Since the 1990s, new recorded material from the group has been increasingly less well-received and less frequent. Despite this, the Rolling Stones have continued to be a huge attraction on the live circuit, with big stadium tours in the 1990s and 2000s. By 2007, the band had made what were then four of the top five highest-grossing concert tours of all time (Voodoo Lounge Tour (1994–95), Bridges to Babylon Tour (1997–99), Licks Tour (2002–03) and A Bigger Bang Tour (2005–07).[3]

The Rolling Stones were inducted into the Rock and Roll Hall of Fame in 1989, and the UK Music Hall of Fame in 2004. Rolling Stone magazine ranked them fourth on the “100 Greatest Artists of All Time” list, and their estimated album sales are above 250 million. They have released twenty-nine studio albums, eighteen live albums and numerous compilations. Let It Bleed (1969) was their first of five consecutive number one studio and live albums in the UK. Sticky Fingers (1971) was the first of eight consecutive number one studio albums in the US. In 2008, the band ranked 10th on the Billboard Hot 100 All-Time Top Artists chart. In 2012, the band celebrated its 50th anniversary.

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

Purpuree danze – Purple dances


Purpuree danze

Canti che snodano
gocce di rugiada
passi nell’ombra
e attesa frescura

Raccolti attimi
che palpitano ancora
per essere fonte di vita
oltre ogni apparire

Purpuree danze
al vortice d’anima
che espande chiarore
sovrastando il silenzio

03.08.2004 Poetyca

Purple dances

Songs that meander
drops of dew
steps in the shadows
cool and waiting

collected moments
that beat yet
to be the source of life
look beyond

purple dances
the vortex core
light that expands
drowning out the silence

03.08.2004 Poetyca

Neil Young – The Needle & The Damage Done


[youtube https://www.youtube.com/watch?v=UyRwde95sfE&list=PL76C4C09DDAFF76C8]

Neil Percival Young (Toronto, 12 novembre 1945) è un cantautore e chitarrista canadese.

Dopo aver debuttato giovanissimo con la storica formazione dei Buffalo Springfield e aver raggiunto il successo nel supergruppo Crosby, Stills, Nash & Young,[1] Neil si è imposto come uno dei più carismatici e influenti cantautori degli anni settanta,[2] contribuendo a ridefinire la figura del songwriter con album come After the Gold Rush e il vendutissimo Harvest.[3]

Artista solitario e tormentato,[3] capace di passare con disinvoltura dalla quiete della ballata acustica alla brutalità della cavalcata rock, per l’approccio spesso volutamente “grezzo” che contraddistingue tanto i suoi dischi quanto i suoi concerti è stato considerato da alcuni un precursore del punk,[3] mentre la ruvida passione delle sue performance ha spinto tanto la critica quanto gli appassionati e gli stessi musicisti ad acclamarlo negli anni novanta padrino del grunge.[3][4] È stato inoltre un personaggio determinante per l’evoluzione di generi come l’alternative country[5] e l’alternative rock in generale.[6]

Tratti inconfondibili del suo stile sono la voce acuta e nasale, la chitarra “sporca” e cacofonica, i testi introspettivi e malinconici (specie nella cosiddetta Trilogia del dolore,[7] culminata nell’album Tonight’s the Night,[8] da molti ritenuto il primo concept album della storia del rock a misurarsi con temi quali il dolore e la perdita) nonché l’immancabile camicia di flanella, divenuta negli anni un autentico status symbol alternativo.

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

Neil Percival Young, OC OM[4][5] (born November 12, 1945) is a Canadian singer-songwriter and musician. He began performing in a group covering Shadowsinstrumentals in Canada in 1960, before moving to California in 1966, where he co-founded the band Buffalo Springfield together with Stephen Stills and Richie Furay, and later joined Crosby, Stills & Nash in 1969. He released his first album in 1968 and has since forged a successful and acclaimed solo career, spanning over 45 years and 35 studio albums, with a continuous and uncompromising exploration of musical styles.[6] The Rock and Roll Hall of Fame website describes Young as “one of rock and roll’s greatest songwriters and performers”.[7] He was inducted into the Hall of Fame twice, first as a solo artist in 1995, and second as a member of Buffalo Springfield in 1997.[8]

Young’s music is characterized by his distinctive guitar work, deeply personal lyrics[9][10][11] and characteristic alto or high tenor singing voice.[12][13] Although he accompanies himself on several different instruments, including piano and harmonica, his idiosyncratic electric and clawhammer acoustic guitar playing are the defining characteristics of a varyingly ragged and melodic sound.

While Young has experimented with differing music styles throughout a varied career, including swing and electronic music, most of his best known work is either acousticfolk-rock and country rock or electric, amplified hard rock (most often in collaboration with the band Crazy Horse). Musical styles such as alternative rock and grunge also adopted elements from Young. His influence has caused some to dub him the “Godfather of Grunge“.[14]

Young has directed (or co-directed) a number of films using the pseudonym Bernard Shakey, including Journey Through the Past (1973), Rust Never Sleeps (1979),Human Highway (1982), Greendale (2003), and CSNY/Déjà Vu (2008). He has also contributed to the soundtracks of films including Philadelphia (1993) and Dead Man(1995).

Young is an environmentalist[15] and outspoken advocate for the welfare of small farmers, having co-founded in 1985 the benefit concert Farm Aid. He is currently working on a documentary about electric car technology, tentatively titled LincVolt. The project involves his 1959 Lincoln Continental converted to hybrid technology as an environmentalist statement.[16][17] In 1986, Young helped found The Bridge School,[18] an educational organization for children with severe verbal and physical disabilities, and its annual supporting Bridge School Benefit concerts, together with his ex-wife Pegi Young (née Morton). Young has three children: sons Zeke (born during his relationship with actress Carrie Snodgress) and Ben, who were diagnosed with cerebral palsy, and daughter Amber Jean who, like Young, has epilepsy. Young lives on his ranch in La Honda, California.[19] Although he has lived in northern California since the 1970s and sings as frequently about U.S. themes and subjects as he does about his native country, he has retained his Canadian citizenship.[20] On July 14, 2006, Young was awarded the Order of Manitoba,[5] and on December 30, 2009, was made an Officer of the Order of Canada.[4]

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

 

The Best of the Doors


I Doors sono stati un gruppo musicale statunitense, fondato nel 1965 da Jim Morrison (cantante), Ray Manzarek (tastierista), Robby Krieger (chitarrista) e John Densmore (batterista), e scioltosi definitivamente dopo otto anni di carriera effettiva nel 1973[2], due anni dopo la morte di Jim Morrison (avvenuta il 3 luglio del 1971). Sono considerati uno dei gruppi più influenti e controversi nella storia della musica, alla quale hanno unito con successo elementi blues, psichedelia[2] e jazz[3][4]. Molti dei loro brani, come Light My Fire, The End, Hello, I Love You e Riders on the Storm, sono considerati dei classici e sono stati reinterpretati da numerosi artisti delle generazioni successive.

I Doors hanno venduto più di 100 milioni di dischi in tutto il mondo.[5][6] Tre album in studio della band, The Doors (1967), L.A. Woman (1971) e Strange Days (1967), sono presenti nella lista dei 500 migliori album, rispettivamente alle posizioni 42, 362 e 407. Nel 1993 i Doors furono inseriti nella Rock and Roll Hall of Fame.

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

 

The Doors were an American rock band formed in 1965 in Los Angeles, with vocalist Jim Morrison, keyboardist Ray Manzarek, drummer John Densmore and guitaristRobby Krieger. The band took its name from the title of Aldous Huxley‘s book The Doors of Perception,[2] which itself was a reference to a William Blake quote: “If the doors of perception were cleansed every thing would appear to man as it is, infinite.”[3] They were among the most controversial, influential and unique rock acts of the 1960s and beyond, mostly because of Morrison’s wild, poetic[4] lyrics and charismatic but unpredictable stage persona. After Morrison’s death on 3 July 1971, aged 27, the remaining members continued as a trio until disbanding in 1973.[5]

Signing with Elektra Records in 1966, the Doors released eight albums between 1967 and 1971. All but one hit the Top 10 of the Billboard 200 and went platinum or better. The 1967 release of The Doors was the first in a series of top ten albums in the United States, followed by Strange Days (1967), Waiting for the Sun (1968), The Soft Parade (1969), Morrison Hotel (1970), Absolutely Live (1970) and L.A. Woman (1971), with 21 Gold, 14 Platinum and 5 Multi-Platinum album awards in the United States alone.[6] The band’s biggest hits are “Light My Fire” (US, number 1), “People Are Strange” (US, number 12), “Love Me Two Times” (US, number 25), “Hello, I Love You” (US, number 1), “The Unknown Soldier“, (US, number 39), “Touch Me” (US, number 3), “Love Her Madly” (US, number 11), and “Riders On The Storm” (US, number 14). After Morrison’s death in 1971, the surviving trio released two albums Other Voices and Full Circle with Manzarek and Krieger sharing lead vocals. The three members also collaborated on the spoken-word recording of Morrison’s An American Prayer in 1978 and on the “Orange County Suite” for a 1997 boxed set. Manzarek, Krieger and Densmore reunited in 2000 for an episode of VH1’s “Storytellers” and subsequently recorded Stoned Immaculate: The Music of the Doors with a variety of vocalists.

Although the Doors’ active career ended in 1973, their popularity has persisted. According to the RIAA, they have sold 36.6 million certified units in the US[7] and over 100 million records worldwide,[8] making them one of the best-selling bands of all time.[9] The Doors has been listed as one of the greatest artists of all time by many magazines, including Rolling Stone, which ranked them 41st on its list of The 100 Greatest Artists of All Time.[10] The Doors were the first American band to accumulate eight consecutive gold and platinum LPs.[11]

In 2002 Manzarek and Krieger started playing together again, branding themselves as the Doors of the 21st Century, with Ian Astbury of the The Cult on vocals. Densmore opted to sit out and, along with the Morrison estate, sued the duo over proper use of the band name and won. After a short time as Riders On the Storm, they settled on the name Manzarek-Krieger and continued to tour until Manzarek’s death in 2013, at the age of 74.

Three of the band’s studio albums, The Doors (1967), L.A. Woman (1971), and Strange Days (1967), were featured in the Rolling Stone list of The 500 Greatest Albums of All Time, at positions 42, 362 and 407 respectively.

The band, their work, and Morrison’s celebrity are considered important to the counterculture of the 1960s.[12][13][14][15][16]

The Doors were inducted into the Rock and Roll Hall of Fame in 1993.

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

Tom Petty greatest hits


[youtube https://www.youtube.com/watch?v=TsH4CrwExCQ&list=PLupOSjd2mAJDGEqaZeac4zWVQtJyFQRQY]

Thomas Earl Petty è nato a Gainesville, in Florida, e non aveva nessuna aspirazione musicale finché Elvis Presley non visitò la sua città natale. Dopo aver fatto parte di alcune band come The Sundowners, The Epics, e Mudcrutch (di cui facevano parte i futuri membri degli Heartbreakers Mike Campbell e Benmont Tench) inizia la sua carriera discografica come Tom Petty & the Heartbreakers, quando la band irrompe nella scena musicale nel 1976 con l’album omonimo di debutto. La canzoneBreakdown, pubblicata come singolo, entra nella Top 40 nel 1977.

Il secondo album You’re Gonna Get It! uscito nel 1978 conferma le buone musicalità dell’album di debutto, ma i singoli tratti da questo album (Listen To Her Heart e I Need To Know non ripetono il successo di Breakdown. Petty stesso racconta che in quel periodo erano considerati troppo hard per gli amanti del mainstream e troppo soft per i punk.

Nel periodo successivo la sua casa discografica fallisce, scatenando l’apertura di una causa giudiziaria con la nuova per la proprietà dei diritti d’autore delle sue canzoni. Petty finanzierà le spese della causa con un nuovo tour chiamato appunto Lawsuite Tour. In questo stato precario nasce il suo album di maggior successo, Damn the Torpedoes, che raggiunge negli USA il triplo platino. L’album successivo, Hard Promises, ottiene un buon giudizio di critica, ma un minor successo di pubblico, risultando tuttavia un buon lavoro.

Sul suo quinto album Long After Dark (1982), il bassista Ron Blair è sostituito da Howie Epstein, che completa la line-up degli Heartbreakers. Petty in quel periodo ha problemi di stress dovuto al successo e si prende un periodo di pausa dalle scene.

Con il suo album del ritorno Southern Accents (1985) Tom Petty & The Heartbreakers ricominciano lì da dove avevano interrotto. Secondo il progetto iniziale il disco doveva essere doppio, avendo una parte più acustica dedicata alla riscoperta del sud degli Stati Uniti e una parte più sperimentale alla quale collabora Dave Stewart. Durante le registrazioni si verificano problemi e Petty a, causa della frustrazione, si frattura la mano sinistra, tirando un pugno contro il muro. Per questo incidente l’artista non potrà suonare la chitarra per circa otto mesi e questo farà tramontare del tutto l’idea dell’album doppio. Il singolo tratto dall’album èDon’t Come Around Here No More prodotto da Dave Stewart, il video della canzone vede Tom vestito come il Cappellaio Matto dal libro Alice nel Paese delle Meraviglie.

Il tour è un successo, e verrà documentato sull’album Pack Up The Plantation: Live! (1986). Le capacità live della band vengono ulteriormente confermate quando Bob Dylan invita Tom Petty & the Heartbreakers a unirsi a lui durante il True Confessions Tour attraverso USA, Australia, Giappone nel (1986) ed Europa nel (1987).

Durante il 1987, il gruppo incide anche l’album Let Me Up (I’ve Had Enough), un album in studio che presenta sonorità assimilabili a quelle di un album dal vivo, registrato utilizzando tecniche prese in prestito da Bob Dylan. L’album include Jammin’ Me, che Petty scrive con Dylan.

Prima di Full Moon Fever, Lynne e Petty lavorano insieme nella all-stars band Traveling Wilburys, nella quale sono presenti anche Bob Dylan, George Harrison e Roy Orbison.[1] I Traveling Wilburys nascono per gioco per registrare il lato B di un singolo di George Harrison, ma Handle with Care, la canzone che ne viene fuori, è considerata troppo valida per essere relegata sul lato B di un singolo e infatti ha un tale successo che i membri decidono di registrare un intero album. Traveling Wilburys Vol. 1 esce nel 1988 ma pochi mesi dopo la morte improvvisa di Roy Orbison fa calare un’ombra sul successo dell’album, visto anche che Del Shannon, con il quale il gruppo avrebbe intenzione di sostituirlo, si suicida. Nonostante ciò un secondo album, curiosamente chiamato Traveling Wilburys Vol. 3 segue nel 1990.

Nel 1989, Petty registra Full Moon Fever, solo nominalmente un progetto solista, infatti altri membri degli Heartbreakers e altri musicisti famosi partecipano alla produzione. Mike Campbell co-produce l’album con Petty e Jeff Lynne. Il disco raggiunge la Top Ten della rivista Billboard e vi rimane per più di 34 settimane, raggiungendo il triplo disco di platino, insieme ai singoli I Won’t Back Down, Free Fallin’ e Runnin’ Down A Dream.

Petty si riunisce con gli Heartbreakers per l’album successivo, Into the Great Wide Open nel 1991. È prodotto di nuovo da Jeff Lynne e include i singoli Learning to Fly e la title-track Into the Great Wide Open, che vede gli attori Johnny Depp, Gabrielle Anwar e Faye Dunaway nel video.

Nel 1994, Petty registra il suo secondo album solista, Wildflowers prodotto da Rick Rubin, che include i singoli You Don’t Know How It Feels, You Wreck Me, It’s Good to Be King, A Higher Place e Honey Bee. Petty considera questo uno dei suoi album più riusciti, parere condiviso anche dalla critica.

Due anni dopo 1996 realizza la colonna sonora del film Il senso dell’amore del regista Edward Burns. Nominato direttore artistico del progetto, non riusce però a trovare nessun altro musicista disposto a fornirgli brani validi e decide quindi di usare insieme alle canzoni nuove composte per l’occasione, anche brani non usati nel disco precedente.

Dovranno passare ancora tre anni, periodo travagliato del divorzio dalla prima moglie, prima che esca il successivo album in studio Echo, con cui Petty ottiene un buon successo soprattutto negli USA. Nonostante in questo periodo conosca Dana, quella che diventerà la sua seconda moglie, l’album ha testi molto tristi e sofferti.

Dopo che nel 2000 esce un’altra antologia in doppio CD, nel 2002 esce The Last DJ, in cui parte dei testi esprimono una critica all’industria discografica, che a suo parere schiaccia la vera arte per cercare solo l’utile economico. La critica musicale non è tenera e giudica l’album il peggiore in assoluto della sua carriera, giudizio senz’altro severo visto che il disco benché sia distante dai picchi della sua produzione, resta un disco ascoltabile con qualche pezzo discreto. L’artista stesso si stupirà di come tutte le critiche siano rivolte ai testi senza nessun accenno alla qualità delle canzoni.

Il 24 luglio 2006 è uscito Highway Companion, nuovo album solista dell’artista, realizzato nuovamente con Jeff Lynne e il fido Mike Campbell.[2] L’album prodotto come l’album solista Wildflower del 1994 da Rick Rubin, è il primo inciso per la American Recordings, etichetta del produttore stesso, che fa parte della Warner con la quale Tom Petty incide da più di dieci anni. Si tratta di un album certamente migliore da un punto di vista musicale rispetto al precedente anche se certi capolavori sembrano oramai irripetibili. 

Nella primavera del 2008 Tom Petty riunisce la sua prima band, i Mudcrutch, con cui non aveva mai inciso alcun disco e pubblica l’album Mudcrutch, che stilisticamente non si discosta troppo dalle sue recenti produzioni.

Nel giugno 2010 Petty pubblica, nuovamente con gli Heartbrakers, l’album Mojo, seguito nel luglio 2014 da Hypnotic Eye.

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

 

Thomas EarlTomPetty (born October 20, 1950) is an American musician, singer, songwriter, multi-instrumentalist, and record producer. He is best known as the lead vocalist of Tom Petty and the Heartbreakers, but is also known as a member and co-founder of the late 1980s supergroup the Traveling Wilburys (under the pseudonymsof Charlie T. Wilbury, Jr. and Muddy Wilbury) and Mudcrutch.

He has recorded a number of hit singles with the Heartbreakers and as a solo artist, many of which remain heavily played on adult contemporary and classic rock radio. His music has been classified as rock and roll, heartland rock and even stoner rock. His music, and notably his hits, have become popular among younger generations as he continues to host sold-out shows.[1] Throughout his career, Petty has sold more than 80 million records worldwide, making him one of the best-selling music artists of all time.[2] In 2002, he was inducted into the Rock and Roll Hall of Fame.

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

Sussurro infinito – Infinite whisper


Sussurro infinito

Esprimi tutte le parole che sai,
falle scorrere piano sul foglio…
Come lacrime, come lampi di cielo notturno
e poi prendi fiato prima che possano
in un solo istante scagliarsi
a lasciare sgomenta questa notte
Offri la linfa del tuo essere
per rendere complice
solo quest’irripetibile istante
e non temere l’arrivo dell’alba
perchè sarà nascita e vita
a cullare ogni tua vibrante attesa
Io ascolto cullata dal sogno
che appeso alle stelle
sa scuotere ogni respiro
ed accolgo ora
le emozioni vive
che ci accompagnano ancora
Nulla sarà più
come prima della manifestazione
di questa polvere d’oro
che ricopre le palpebre
in un sussurro infinito d’amore
29.01.2008 Poetyca

Infinite whispers

Give all the words you know,
Slide it up on the sheet …
Like tears, like flashes of the night sky
and then take a breath before they can
in an instant lash
frightened to leave tonight
Offer the lifeblood of your being
to make accomplice
only quest’irripetibile moment
and do not fear the arrival of dawn
Why is birth and life
to cradle your every expectation vibrant
I listen lulled by a dream
that hung the stars
knows how to shake every breath
and welcome hour
emotions live
that is still with us
Nothing will be more
as before the event
This gold dust
covering the eyelids
in a whisper of endless love
29.01.2008 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

Leonard Cohen


[youtube https://youtu.be/IEVow6kr5nI?list=PL22135BF03C47D7CC]

Leonard Norman Cohen (Montréal, 21 settembre 1934) è un cantautore, poeta, scrittore e compositore canadese. È uno dei cantautori più celebri, influenti e apprezzati della storia della musica.

Nelle sue opere esplora temi come la religione, l’isolamento e la sessualità, ripiegando spesso sull’individuo. Vincitore di numerosi premi e onorificenze, è inserito nellaRock and Roll Hall of Fame, nella Canadian Songwriters Hall of Fame e nella Canadian Music Hall of Fame. È inoltre insignito del titolo di Compagno dell’Ordine del Canada, la più alta onorificenza concessa dal Canada. Nel 2011, ricevette il Premio Principe delle Asturie per la letteratura.

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

Leonard Norman Cohen, CC GOQ (born 21 September 1934) is a Canadian singer, songwriter, musician, painter, poet, and novelist. His work has explored religion, politics, isolation, sexuality, and personal relationships. Cohen has been inducted into both the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame as well as the American Rock and Roll Hall of Fame. He is also a Companion of the Order of Canada, the nation’s highest civilian honor. In 2011, Cohen received aPrincess of Asturias Awards for literature.

The critic Bruce Eder assessed Cohen’s overall career in popular music by asserting that “[he is] one of the most fascinating and enigmatic … singer/songwriters of the late ’60s … [and] has retained an audience across four decades of music-making…. Second only to Bob Dylan (and perhaps Paul Simon) [in terms of influence], he commands the attention of critics and younger musicians more firmly than any other musical figure from the 1960s who is still working at the outset of the 21st century.”

One of his notable novels, Beautiful Losers (1966) received attention from the Canadian press and was considered controversial because of a number of sexually graphic passages.[4] The Academy of American Poets has commented more broadly on Cohen’s overall career in the arts, including his work as a poet, novelist, and songwriter, stating that “Cohen’s successful blending of poetry, fiction, and music is made most clear in Stranger Music: Selected Poems and Songs, published in 1993, which gathered more than 200 of Cohen’s poems … several novel excerpts, and almost 60 song lyrics… While it may seem to some that Leonard Cohen departed from the literary in pursuit of the musical, his fans continue to embrace him as a Renaissance man who straddles the elusive artistic borderlines.”

Cohen’s first album was Songs of Leonard Cohen (1967) followed by Songs from a Room (1969) (featuring the often-recorded “Bird on the Wire”) and Songs of Love and Hate (1971). His 1977 record Death of a Ladies’ Man was co-written and produced by Phil Spector, which was a move away from Cohen’s previous minimalist sound. In 1979 Cohen returned with the more traditional Recent Songs, which blended his acoustic style with jazz and Oriental and Mediterranean influences. “Hallelujah” was first released on Cohen’s studio album Various Positions in 1984. I’m Your Man in 1988 marked Cohen’s turn to synthesized productions and remains his most popular album. In 1992 Cohen released its follow-up, The Future, which had dark lyrics and references to political and social unrest. Cohen returned to music in 2001 with the release ofTen New Songs, which was a major hit in Canada and Europe. In 2006 Cohen produced and co-wrote Blue Alert, a collaboration with jazz chanteuse Anjani Thomas. After the success of his 2008–13 world tours, Cohen released the highest charting album in his entire career, Old Ideas, to positive reviews. On 22 September 2014, one day after his 80th birthday, Cohen released his 13th studio album, Popular Problems, again to positive reviews.

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

Rewind


Rewind

La cogli in un attimo
poi ti sfiora e fugge,
in un alone di silenzio
ne ricordi l’odore

E’ nostalgia di un tempo
che appare troppo lontano
tra passi sull’erba bagnata
ed abbracci di nuvole

La leghi ad un sospito
come una farfalla smarrita
che impalpabile porta con sè
movimento e colore

E’ ancora felice quel tempo
che porti dentro l’anima,
s’affaccia senza preavviso
e fa scivolare un’altra lacrima

05.09.2008 Poetyca

Rewind

You grasp it in an instant
then touch you and runs away,
in a halo of silence
I remember the smell

It is nostalgia for a time
that is too far
between steps on the wet grass
and hugging clouds

You attach it to a sigh
Lost like a butterfly
intangible that brings
movement and color

It ‘s still happy that time
leading into the soul,
looks out without notice
and another tear slides

05.09.2008 Poetyca

Guns N’ Roses Top 20 Songs


[youtube https://youtu.be/rKzrkjE4Ix4]

I Guns N’ Roses sono un gruppo hard rock statunitense, formatosi a Los Angeles nel 1985. Lo stile sonoro, l’immagine trasgressiva e le costanti performance dal vivo li aiutarono ad occupare un posto di prestigio nella scena musicale tra la fine degli anni ottanta e l’inizio dei novanta.

Dal 1993, il gruppo ha conosciuto problemi e silenzi, a causa di contrasti tra il cantante Axl Rose (ritenuto il leader carismatico della band) e i membri originari. Rose, che è anche autore della maggior parte dei testi, è l’unico membro della formazione originale.

In totale, i Guns N’ Roses hanno venduto oltre 100 milioni di dischi in tutto il mondo, e sono stati inseriti al 92º posto nella lista dei 100 migliori artisti secondo Rolling Stone.

Il 14 aprile 2012 il gruppo originale è stato inserito nella Rock and Roll Hall of Fame dai Green Day.

https://it.wikipedia.org/wiki/Guns_N%27_Roses

 

Guns N’ Roses is an American hard rock band formed in Los Angeles, in 1985. The classic lineup as signed to Geffen Records in 1986 consisted of vocalist Axl Rose, lead guitarist Slash, rhythm guitarist Izzy Stradlin, bassist Duff McKagan, and drummer Steven Adler. Today, Axl Rose is the only remaining original member, in a lineup that comprises Use Your Illusion–era keyboardist Dizzy Reed, guitarist Richard Fortus, bassist Tommy Stinson, drummer Frank Ferrer and keyboardist Chris Pitman. The band has released six studio albums to date, accumulating sales of more than 100 million records worldwide, including shipments of 45 million in the United States, making them one of the world’s best-selling bands of all time.

A year after its release, Guns N’ Roses’ debut album Appetite for Destruction (1987) reached No. 1 on the Billboard 200, on the strength of the hit “Sweet Child o’ Mine”, their only single to reach No. 1 on the Billboard Hot 100. The album has sold in excess of 28 million copies worldwide,including 18 million units sold in the United States, making it the best-selling debut album of all time in the U.S, as well as the 11th best-selling album in the United States.The success of their debut was followed by the eight-song album G N’ R Lies (1988) which reached No. 2 on the Billboard 200. The twin albums Use Your Illusion I and Use Your Illusion II (1991) debuted at No. 2 and No. 1 on the Billboard 200 and have sold a combined 35 million copies worldwide, including 14 million units sold in the United States alone. The cover album “The Spaghetti Incident?” (1993) was the band’s last studio album to feature Slash and McKagan. After more than a decade of work and several lineup changes, Guns N’ Roses released the long-awaited album Chinese Democracy (2008) which, at an estimated $14 million in production costs, made it the most expensive album to ever be produced in music history It debuted at No. 3 on the Billboard 200 but undersold industry expectations, despite mostly positive critical reception.

Guns N’ Roses have been credited with reviving the mainstream popularity of rock music, at a time when popular music was dominated by dance music and pop metal. Their late 1980s and early 1990s years have been described as the period in which they brought forth a “hedonistic rebelliousness” reminiscent of the early Rolling Stones, a reputation that had earned them the nickname “The Most Dangerous Band in the World”.The band’s classic lineup, along with later members Reed and drummer Matt Sorum, were inducted into the Rock and Roll Hall of Fame in 2012, their first year of eligibility

https://en.wikipedia.org/wiki/Guns_N%27_Roses

Vivere il presente – Living the present



Vivere il presente
“Sono tante le ragioni per le quali ci stiamo rivolgendo verso la consapevolezza, non ultima forse l’intenzione di conservare la nostra salute mentale o di recuperare il senso delle proporzioni e o il significato delle cose, o anche solo di tenere testa al tremendo stress e alla grande insicurezza del nostro tempo …in effetti limitarsi a sedere e a stare tranquilli per un po’ di tempo per proprio conto è un atto radicale di amore.”

Jon Kabat Zinn
Tutto ciò che accade nella tua vita prende origine dalla tua coscienza. Elevando la tua coscienza, tu elevi tutto il tuo essere ed il tuo modo di vedere la vita, e cominci a vivere quell’esistenza piena e meravigliosa che è il tuo autentico retaggio. Te la si può spiegare, e puoi vedere gli altri viverla; ma finché essa non penetra nella tua coscienza e finché non accetti il fatto che essa ti sia destinata, non accade nulla. L’anima in apparenza più semplice e infantile può accettare il regno dei cieli molto più facilmente dell’anima più profondamente intellettuale, che crede di conoscere tutte le risposte grazie alla mente, ma la cui coscienza non è assurta a più alti livelli. Ogni anima può raggiungere uno stato di coscienza elevato, ma è qualcosa che deve essere compiuto dal di dentro, partendo da una conoscenza interiore, dall’ispirazione e dall’intuizione che non hanno bisogno di alcun sapere o saggezza esterni. E’ tutto lì, nel profondo di ogni anima, semplicemente in attesa di essere riconosciuto, portato alla luce e vissuto.
da: Eileen Caddy (Le Porte Interiori)
Vivere il presente non significa ” vivere alla giornata”, come un vagabondo senza nè arte nè parte, senza pensare a se stessi ed essere in balia degli eventi.
Non significa non avere un progetto di vita, disinteressarsi del lavoro, godere e basta, con opportunismo, egoismo e narcisismo e sfruttamento delle debolezze altrui.
Seguimi sulla strada della comprensione e vedrai che questi “…ismo” non hanno nessun riferimento a questo stile di vita che ti accenno. Orazio, poeta latino, quando nell’ode 1,11 (carmina) parla di “carpe diem” esprime una visione della vita diversa, che può favorire l’equilibrio interiore, l’amonia dei sensi, l’integrazione dei ritmi esistenziali, il piacere vero di vivere il quotidiano nella sua profondità.Tu puoi intervenire ed agire solo nel presente: il futuro è lontano e il passato è nella memoria. Vivendo il presente con consapevolezza totale
” quam minumum credula postero” ( confidando il meno possibile nel domani),
( come continua a dire Orazio nella sua splendida poesia), tu sei invitato ad essere ragionevole, a cogliere le occasioni che ti offre la vita giorno per giorno. Queste occasioni, questi momenti buoni che tu vivi ti daranno la forza di ” vivere al meglio” i tuoi minuti, le tue ore, il tuo mattino, il tuo pomeriggio, la tua sera, la tua notte. Non solo ma godendo giorno per giorno ti arricchirai talmente che potrai scaricare le tue tensioni ” di ieri”, del ” passato”, e anche del “domani”, “dell’avvenire”. Con questa catarsi non ti farai del male, ripetendo gli errori del passato o indirettamente preparando iun terreno sfavorevole per il tuo futuro. Nel presente tu darai il meglio di te.
L’oggi va risolto così, senza pregiudizi, senza condizionamenti in piena libertà, senza il carico del passato( con i suoi traumi, le sue ferite, le sue amarezze, le sue perdite) o le speranze ( e molto spesso le preoccupazioni, le ansie e le angosce) per il futuro.
Confucio stesso accenna al passato dicendo che non deve essere un peso da portare sulle spalle ma un un insegnamento da averlo davanti a noi, leggero e piacevole. E questo è possibile solo se vivi il presente, l’oggi in tutta la sua splendida bellezza, in tutto il suo mistero e e la magia imprevedibile del divenire. In effetti se tu elabori il passato nel presente esso ti anche una previsione per il futuro. Facci caso e poni attenzione: tu puoi vivere i tre tempi nel presente, in un attimo. Allora cogli l’attimo fuggente, non lasciarti scappare quel momento prezioso d’amore, quella gioia di un sorriso, quella risata di una goduria estrema, il profumo di un corpo che ti accarezza, il canto di un uccellino, l’ascolto e la visione della natura, degli uomini e delle cose. Gibran diceva che spesso ci indebitiamo con il futuro per non pagare il debiti del passato. Te ne prego non andare in questa direzione, non pensare più del previsto: il futuro può tormentarti, il passato può bloccarti, il presente può sfuggirti.
Forse ricorderai Elvis Presley e Bob Dylan. Appartengono al passato eppure Elvis ci ha liberato il corpo e Dylan la mente. e insieme ci hanno fatto sognare. Questo non è pensare, è vivere e trasmettere un sogno. Sant’Agostino aveva ragione quando diceva: noi viviamo tre tempi: il presente del passato che è la storia; il presente del presente che è la visione; il presente del futuro che è l’attesa.
Goethe immaginava il tempo com un compagno di viaggio che ” dobbiamo onorare con letizia e a allegrezza di spirito. quando ci passa accanto”.
Ti invito ancora una volta a considerare il tempo non come una persona gaudente della vita, un parassita, che si è dimenticato gli errori di ieri e non pensa alla dignità di un domani ( che sceglie di non scegliere), ma con una mente libera che va al di la del pensiero.
Nietzsche stesso se ne è accorto quando in una riflessione così affermava:
” quando più si pensa a quello che fu e a quello che sarà,
tanto più pallido diventa quello che è ora”.
Se tu ti immergi nel presente con chiarezza e comprensione, tu sarai un altro, tu darai il meglio di te, tu godrai immensamente l’attimo e berrai l’acqua dell’eternità, gusterai la bellezza del momento,. Se vivi nei condizonamenti del passato e nelle fantasie e nelle aspettative del futuro vedrai che questo mondo esiste, ci vivrai, passerai le tue giornate comunicando l’incomunicabilità ma tu lo osserverai come un ubriaco o come un miope che non porta occhiali e lo interpreterai a modo tuo. Tu stai dormendo.
Eraclito diceva che coloro che sono prigionieri dei legami del pensiero anche se sono, non sono, anche se sono presenti sono assenti. In effetti con il passato ( che non c’è più) e con il futuro ( che non c’è ancora) qualsiasi azione diventa assurda.
Eppure quante volte sentiamo dire: l’ho fatto per il suo bene. O in altri contesti: l’ho fatto perchè pensavo di raggiungere dei risultati, e così ascoltiamo centinaia e più di altre motivazioni per giustificare molti programmi e strategie operative.
Il tempo è legato alla mente. La mente vive su queste due dimensioni. E’ il sapere stesso dell’uomo: la storia e l’avvenire. Mi viene alla memoria il verso di Ovidio ( amores – libro III – elegia seconda, verso 39):
” nec sine te, nec tecum vivere possum”
( non posso vivere nè con te, nè senza di te)
Quando lasciamo un pò da parte la mente ( e ti consiglio di farlo) tu inizi ad esistere, anzi tu sei.
Non ti dico di dimenticare il passato, esso è la tua storia, è il bambino che è dentro di te, è parte integrante del tuo essere.Esso è come un cibo che diventa parte delle tue cellule, del tuo essere corporeo trasformandosi in proteine, glucidi, lipidi, minerali e vitamine. Non ti dico di non credere nel futuro. Nel presente consapevole e attento, in quest’attimo ardente e appassionato, in questo istante di vita, tu vivi sia il passato che il futuro perchè il presente contiene tutto il tuo passato e a secondo come vivrai questo presente esso sarà la base del tuo futuro. Io ti invito a godere l’attimo nella sua pienezza e nella sua intensità, e nella sua grande creatività a non lasciartelo sfuggire, a non proiettarti in avanti o regredire e andare all’indietro. Nel centro del tuo essere c’è il tuo seme, la tua essenza, tutte le tue potenzialità. Lascia crescere questo fiore, questa pianta, quest’albero lungo le stagioni della vita e dalla terra al cielo con naturalezza e spontaneità
Forse ti sembrerà di aver fatto chissà che cosa, di aver conquistato chissà quale vetta, di aver raggiunto uno scopo sublime. In realtà non hai fatto niente di tutto questo. Hai solo scoperto te stesso…
Ti sembrerà, questa scoperta, la fine del tuo percorso. Essa è solo l’inizio. La fine è il tuo inizio. L’inizio di un viaggio verso una gioia profonda e incommensurabile. Tu hai superato il tempo, tu sei un uomo senza tempo.
http://www.vigliottiangelo.it/2008/03/vivere-il-presente-cogliere-lattimo.html
Parole in viaggio
Vi esorto a non buttare via il tempo, perché è veloce come una freccia, rapido come una corrente. La distrazione è interamente dovuta a mancanza di concentrazione; la stupidita’ e la cecita’ sono causate dalla mancanza di vera comprensione.
(Yung-Ming Yen-Shou – 905-975)
Immagina d’essere un bimbo che, sdraiato sulla schiena con lo sguardo rivolto al cielo senza nuvole, faccia bolle di sapone con un anello di plastica. Non appena la bolla si stacca, l’osservi mentre s’innalza nel cielo, e così facendo sposti l’attenzione dalla bolla al cielo. Mentre osservi la bolla, questa scoppia, ma l’attenzione per un attimo rimane là dove c’era la bolla. Ecco, in quell’attimo la consapevolezza si posa nello spazio vuoto.
(B. Alan Wallace)
La meditazione è come un singolo pezzo di legno. L’investigazione e l’introspezione sono un’estremità del legno, la calma e la concentrazione sono l’altra estremità. Se sollevi un pezzo di legno, entrambe le estremità si sollevano contemporaneamente. Qual è la concentrazione e qual è l’introspezione? Soltanto questa mente.
(Ajahn Chah,)
Stare attenti vuol dire vivere nel momento presente, non essere imprigionati nel passato e nemmeno anticipare eventi futuri che potrebbero non accadere. Allorché siamo pienamente coscienti del momento presente, la vita si trasforma e l’ansia e lo stress scompaiono. Gran parte della vita se ne va nella febbrile anticipazione delle cose da fare e nella conseguente sospensione d’animo. Dovremmo imparare a fare un passo indietro nella liberta’ e possibilita’ del presente.
(Bede Griffiths)
La comprensione è migliore della pratica meccanica. Migliore della comprensione è la meditazione. Ma meglio di tutto è lasciar andare l’ansia per il risultato, perché a questo fa immediatamente seguito la pace.
(Bhagavad Gita 12:12)
Consapevole mentre cammina, consapevole mentre sta fermo, consapevole mentre sta seduto, consapevole mentre giace, consapevole nel distendere e raccogliere le proprie membra – in alto, di fianco e in basso – dovunque vada nel mondo, il praticante osserva il sorgere e lo svanire di tutte le cose composte di elementi. Chi vive in questo modo zelante, quieto e non esaltato, sempre mentalmente presente, esercitantesi nella tranquilla consapevolezza, vien definito “costantemente intento”.
(Itivuttaka, 111)
Nella meditazione la prima cosa di cui ci rendiamo conto è che non serve cercare; infatti ciò che si cerca è predeterminato da ciò che si desidera…
(J. Krishnamurti)
Tenete le mani aperte, tutta la sabbia del deserto passerà nelle vostre mani. Chiudete le mani, non otterrete che qualche granello di sabbia (Dogen)
Prima del risveglio tagliavo legna e portavo acqua; dopo il risveglio tagliavo legna e portavo acqua.
(Proverbio Zen)
Se hai ragione non hai bisogno di gridare.
(Proverbio zen)
Se siamo felici, se siamo in pace, possiamo sbocciare come un fiore; e la nostra famiglia, tutta la società, trarranno beneficio dalla nostra pace.
(Thich Nhat Hanh)
Non potremo mai ottenere la pace nel mondo se trascuriamo il mondo interiore e non facciamo la pace con noi stessi. La pace nel mondo deve scaturire dalla pace interiore. Senza pace interiore è impossibile realizzare la pace nel mondo esteriore. Le armi non sparano da sole. Non sono piovute dal cielo: le ha fatte l’uomo. Ma nemmeno queste armi, queste terribili armi, non possono sparare da sole. Finché vengono lasciate nei depositi non possono fare alcun danno. Ci vuole un essere umano per usarle. Qualcuno deve premere il grilletto. Satana, le forze del male, non possono premere il grilletto. Occorrono degli esseri umani per farlo.
(Riflessioni di Tenzin Gyatso, XIV Dalai Lama)
La scomparsa totale dei sensi di insicurezza si avra’ soltanto quando avrai quella benedetta capacita’ degli uccelli del cielo e dei fiori del campo di vivere pienamente, momento per momento, nel presente, per quanto insopportabile questo possa apparire.
(Anthony De Mello)
Il sole brilla senza intenzioni. Non spera elogi né ricompense. Brilla, semplicemente. O, piuttosto, no, ecco: brucia, si consuma nell’eccesso stesso della sua gioia.
(Sukkananda)
Devi comprendere in prima persona, direttamente, la verità su di te. E non puoi realizzarla tramite un altro, per quanto grande sia. Non c’è autorità che possa rivelarla.
(Jiddu Krishnamurti)
Spesso siamo anche noi ad aumentare il nostro dolore e la nostra sofferenza con l’ipersensibilità e l’iperreattività verso cose da nulla, e talvolta prendendo le cose troppo personalmente.
(Dalai Lama)
Tutti i difetti della nostra mente – l’egoismo, l’ignoranza, la rabbia, l’attaccamento, il senso di colpa e tutti gli altri pensieri molesti – sono temporanei, non permanenti e duraturi. E poiché la causa della nostra sofferenza e dei nostri pensieri molesti è temporanea, anche la nostra sofferenza è temporanea.
(Lama Zopa Rinpoche)

Living the present
“There are many reasons why we are turning toward awareness, not least perhaps the intention to maintain our mental health, or to recover a sense of proportion and / or the meaning of things, or just to keep up with the tremendous stress and the great insecurity of our time … in fact simply sit and be quiet for a while ‘time for its own account is a radical act of love. “
Jon Kabat Zinn
Everything that happens in your life stems from your consciousness. By raising your consciousness, you elevate your whole being and your outlook on life, and begin to live full and wonderful that existence that is your true legacy. You can explain to you, and you can see the other live, but until it enters your consciousness until you accept the fact that it is intended, nothing happens. The soul apparently simple and childish to accept the kingdom of heaven much more easily than the soul more deeply intellectual, who think they know all the answers thanks to the mind, but whose consciousness has not risen to the highest level. Every soul can reach a higher state of consciousness, but it is something that should be performed from within, from an inner knowing, inspiration and intuition that they do not need any external knowledge or wisdom. It ‘s all there, in the depths of every soul, just waiting to be recognized, brought to light and lived.
by: Eileen Caddy (The interior doors)
Living this does not mean “live for the day” as a vagrant without neither art nor part, without thinking of themselves and be at the mercy of events.
It does not mean not having a life plan, lose interest in the work, and just enjoy, with opportunism, selfishness and narcissism and exploitation of the weaknesses of others.
Follow the path of understanding and you will see that these “… ism” have no reference to this lifestyle that you mention. Horace, Latin poet, when ode 1.11 (Carmine) speaks of “carpe diem” expresses a different view of life, which can promote inner balance, the amon of the senses, the integration of the rhythms of existence, the true pleasure of living everyday in his profondità.Tu can speak and act only in this: the future is far away and the past is in memory. Living in the present with total awareness
“Quam minumum credulous posterity” (trusting little as possible in tomorrow)
(As Horatio continues to say in his beautiful poetry), you are invited to be reasonable, to seize the opportunities that life offers every day. These opportunities, these good times that you live will give you the strength to “live better” your minutes, your hours, your morning, your afternoon, your evening, your night. Not only that but enjoying every day you get rich so that you can download your tensions “yesterday”, the “past” and also “Tomorrow,” “the future”. With this catharsis is not gonna hurt you, repeating the mistakes of the past or indirectly preparing Iun unfavorable terrain for your future. In the present you give your best.
The date needs to be resolved this way, without prejudices, without conditioning in full freedom, without the burden of the past (with his injuries, his wounds, his bitterness, his losses) and hopes (and very often the concerns, anxieties and fears) for the future.
Confucius himself alludes to the past, saying that should not be a burden to bear on his shoulders but a lesson from him in front of us, light and pleasant. And this is only possible if you live on this, today in all its stunning beauty, in all its mystery ee the magic of becoming unpredictable. In fact if you draw the past into the present it will also predict the future. Let us ask the case and attention: you can live three times in the present, in a moment. So seize the fleeting moment, do not miss that precious moment of love, the joy of a smile, that laugh of a pleasure resort, the scent of a body that caresses you, the song of a bird, listening and vision of nature, men and things. Gibran said that often we go into debt with the future not to pay the debts of the past. I beg you not to go in this direction, do not think more than expected: the future can torment you, the past is blocked, this can escape.
Perhaps you remember Elvis Presley and Bob Dylan. Belong to the past but Elvis has released the body and the mind Dylan. and together have made us dream. This is not to think, you live and pass on a dream. St. Augustine was right when he said: we live three times: This is the story of the past and the present of the present that is the vision, this is the expectation of the future.
Goethe imagined time travel with a companion that “we must fulfill with joy and gladness of spirit. When they go by.”
I invite you once again to consider time not as a pleasure-seeking person of life, a parasite that has forgotten the mistakes of the past and not think about the dignity of tomorrow (who chose not to choose), but with a clear mind that goes the thinking.
Nietzsche himself noticed it when it said in a debate:
“When you think more about what was and what will be,
becomes much paler than it is now. “
If you dive in the present with clarity and understanding, you will be another, you give your best, you’ll enjoy immensely the moment and drink the water of eternity, enjoy the beauty of the moment. If you live in the past condizoni and fantasies and expectations of the future you will see that this world exists, we will live, you will spend your days indicating the lack of communication but you see how a drunk or a short-sighted who does not wear glasses and interpreters your way. You’re sleeping.
Heraclitus said that those who are prisoners of the links of thought even if they are not, even if there are are absent. In fact with the past (which no longer exists) and the future (which is not yet) any action becomes absurd.
Yet how many times we hear: I did it for his own good. Or in other contexts: I did it because I thought of getting results, and so we hear more and hundreds of other reasons to justify many programs and operating strategies.
Time is linked to the mind. The mind lives on these two dimensions. E ‘knowledge of man: history and future. I comes to mind the verse of Ovid (Amores – Book III – the second elegy, verse 39):
“Nec sine you live nec tecum possum”
(I can not live either with you or without you)
When we leave a little bit from the mind (and I suggest you do) you begin to exist, indeed you are.
I do not say forget the past, it is your story, is the child who is within you, is an integral part of your essere.Esso is like a food that becomes part of your cells, your body be transformed into proteins, carbohydrates, fats, minerals and vitamins. Do not say do not believe in the future. In this conscious and attentive, and passionate in this moment, in this moment of life you live is the past and the future because this contains all your past and present it according to how you live this will be the foundation of your future. I invite you to enjoy the moment in its fullness and in its intensity, and his creativity to not let it slip away, not to project forward or reverse and go backwards. In the center of your being is your seed, your essence, all of your potential. Let this flower grow, this plant, this tree along the seasons of life and from earth to heaven with naturalness and spontaneity
Perhaps you feel you have done God knows what, to have won some kind of peak, having reached a sublime goal. In fact you have not done anything like that. You just found yourself …
It may seem, this discovery, the end of your trip. It is just the beginning. The end is your beginning. The beginning of a journey to a profound and immeasurable joy. You have exceeded the time, you’re a man with no time.
http://www.vigliottiangelo.it/2008/03/vivere-il-presente-cogliere-lattimo.html
Words on the move
I urge you not to throw away the time, because it is fast as an arrow, swift as a stream. Distraction is entirely due to a lack of concentration, the stupidity ‘and blindness’ are caused by the lack of true understanding.
(Yung-Ming Yen-Shou – 905-975)
Imagine being a child who, lying on your back with an eye to the sky without clouds, make soap bubbles with a plastic ring. As soon as the bubble detaches, while the observed rises in the sky, and thereby shift attention away from the bubble in the sky. While watching the bubble, it bursts, but the focus remains there for a moment where there was a bubble. Behold, at that moment awareness rests in empty space.
(B. Alan Wallace)
Meditation is like a piece of wood. The investigation and introspection are one end of the wood, the calm and concentration are the other end. If you lift a piece of wood, both ends are lifted simultaneously. What is the concentration and what is introspection? Only this mind.
(Ajahn Chah)
Be careful it means to live in the present moment, not be imprisoned in the past and even anticipate future events that may not happen. When we are fully aware of the present moment, life changes and the anxiety and stress disappear. So much of life goes away in feverish anticipation of things to do and the consequent suspension of mind. We should learn to take a step back in freedom ‘and the possibility’ of this.
(Bede Griffiths)
The understanding is better than mechanical practice. Better understanding is meditation. But best of all is letting go of anxiety for the result, because this will immediately follow the peace.
(Bhagavad Gita 12:12)
Aware while walking, standing still while conscious, aware as he is sitting, while lying conscious, aware of the stretch and gather its members – top, side and bottom – wherever he goes in the world, the practitioner observes the arising and passing away of all things are composed of elements. Who lives in this way, zealous, serene and exalted, ever mindful, practicing in the quiet awareness, is called a “constant concern”.
(Itivuttaka, 111)
In meditation the first thing we realize is that no use trying, because what is sought is predetermined by what you want …
(J. Krishnamurti)
Keep your hands open, all the sand of the desert pass in your hands. Close your hands, do not you will get a few grains of sand (Dogen)
Before waking cut wood and carried water, after waking up I cut wood and carry water.
(Zen Proverb)
If you’re right you do not need to shout.
(Zen Proverb)
If you are happy, if we are at peace, we can blossom like a flower, and our family, society as a whole, will benefit from our peace.
(Thich Nhat Hanh)
We can never obtain peace in the world if we neglect the inner world and do not make peace with ourselves. World peace must come from inner peace. Without inner peace it is impossible to achieve peace in the outside world. The weapons do not shoot themselves. Do not have rained down from heaven, the man has made. But even these weapons, these terrible weapons, they can not shoot themselves. As long as they are left in the stores can not do any harm. It takes a human being to use them. Someone has to pull the trigger. Satan, the forces of evil, can not pull the trigger. It takes human beings to do so.
(Reflections of Tenzin Gyatso, XIV Dalai Lama)
The total disappearance of the senses of insecurity will have ‘only when you have the blessed ability’ of the birds of the air and flowers of the field to live fully, moment by moment, in the present, as this may seem unbearable.
(Anthony De Mello)
The sun shines without intentions. I hope for praise or rewards. Brilla, simply. Or rather, no, here it is: it burns, it consumes itself in the excess of his joy.
(Sukkananda)
You have to understand first hand, directly, the truth about you. And you can not achieve it through another, however great. There is no authority that could reveal it.
(Jiddu Krishnamurti)
Often we are also increasing our pain and our suffering with the hypersensitivity and hyperreactivity to things from nothing, and sometimes taking things too personally.
(Dalai Lama)
All the defects of our minds – the selfishness, ignorance, anger, attachment, guilt and all the other disturbing thoughts – are temporary, not permanent and lasting. And since the cause of our suffering and our thoughts are temporary nuisances, even our suffering is temporary.
(Lama Zopa Rinpoche)

Sussurro infinito – Whisper infinite


Sussurro infinito

Esprimi tutte le parole che sai,
falle scorrere piano sul foglio…
Come lacrime, come lampi di cielo notturno
e poi prendi fiato prima che possano
in un solo istante scagliarsi
a lasciare sgomenta questa notte

Offri la linfa del tuo essere
per rendere complice
solo quest’irripetibile istante
e non temere l’arrivo dell’alba
perchè sarà nascita e vita
a cullare ogni tua vibrante attesa

Io ascolto cullata dal sogno
che appeso alle stelle
sa scuotere ogni respiro
ed accolgo ora
le emozioni vive
che ci accompagnano ancora

Nulla sarà più
come prima della manifestazione
di questa polvere d’oro
che ricopre le palpebre
in un sussurro infinito d’amore

29.01.2008 Poetyca

Whisper infinite

Give all the words you know,
slide it on top of sheet …
Like tears, like flashes of the night sky
and then take breath before they can
in an instant dash
frightened to leave tonight

Give the lifeblood of your being
making accomplice
only quest’irripetibile moment
and not fear the arrival of dawn
Why is birth and life
to cradle your every expectation vibrant

I listen rocked by Dream
that hung the stars
knows how to shake every breath
and I hour
emotions live
that still c’accompagnano

Nothing will be more
as before the event
This gold dust
covering the eyelids
in a whisper of endless love

29.01.2008 Poetyca

Best songs of The Cure || The Cure’s Greatest Hits


The Cure è un gruppo musicale post-punk inglese, i cui esordi risalgono al 1976, in piena esplosione new wave (in compagnia di gruppi come Siouxsie and the Banshees, Joy Division, Echo and the Bunnymen). La band, la cui formazione è variata più o meno regolarmente nel corso degli anni, comprendendo da un minimo di due fino ad un massimo di sei membri, ha raggiunto l’apice del successo tra la metà e la fine degli anni ottanta (soprattutto con i singoli Close to Me e Lullaby, tratti, rispettivamente, dai due album The Head on the Door del 1985 e Disintegration del 1989). Robert Smith, il cantante, chitarrista, autore dei testi e compositore di quasi tutte le musiche, nonché fondatore del gruppo, è l’unico membro ad averne sempre fatto parte dagli esordi ad oggi.

Al luglio 2008, i Cure avevano venduto circa 28 milioni di dischi. L’album più venduto è la raccolta di successi Standing on a Beach – The Singles 1978-1985[3] del 1986, che solo in America ha venduto più di due milioni di copie.[4] Tra Regno Unito, Stati Uniti d’America e Italia, i Cure hanno avuto nella Top Ten 12 album (posizioni più alte: UK: Wish, numero 1; USA: Wish, numero 2; Italia: The Cure, numero 2) e 11 singoli (posizioni più alte: UK: Lullaby, numero 5; USA: Lovesong, numero 2, Italia: High, numero 2).[5]

https://it.wikipedia.org/wiki/The_Cure
The Cure are an English rock band formed in Crawley, West Sussex, in 1976. The band has experienced several line-up changes, with vocalist, guitarist and principal songwriter Robert Smith being the only constant member. The Cure first began releasing music in the late 1970s with their debut album Three Imaginary Boys. Their second single, “Boys Don’t Cry”, became a hit; this, along with several early singles, placed the band as part of the post-punk and new wave movements that had sprung up in the wake of the punk rock revolution in the United Kingdom. During the early 1980s, the band’s increasingly dark and tormented music was a staple of the emerging gothic rock genre.

After the release of 1982’s Pornography, the band’s future was uncertain and Smith was keen to move past the gloomy reputation his band had acquired. With the single “Let’s Go to Bed” released the same year, Smith began to place a pop sensibility into the band’s music and their popularity increased as the decade wore on, with songs like “Just Like Heaven”, “Lovesong” and “Friday I’m in Love”. The band is estimated to have sold 27 million albums as of 2004 and have released thirteen studio albums, ten EPs and over thirty singles during their career.

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

Senza più confine – No more border


Senza più confine

Vorrei accennare
un passo di danza
tra i respiri di questa sera
e i riflessi di luna sul mare.

Raccogliere sorrisi d’anima
per tingere le tele del silenzio
dove tutto è vortice lieve
che accarezza l’istante.

Vorrei un eterno abbraccio
che accompagni tra stanze segrete
dove in un sussurro ti racconterei
voci e palpiti di fantasie e realtà.

Vorrei abbandonare tutte le paure
sul ciglio di questa strada
ed essere viandante che ricorda
ogni orma rincorsa e lasciata

Essere quel che sono adesso
nella magia di un riflesso di cristallo
sul mare che s’increspa ed accoglie
tutte le voci del mondo senza più confine.

01.08.2008 Poetyca

No more border

I would like to mention
a dance step
between breaths tonight
and the reflection of the moon on the sea.

Collect smiles soul
to dye the canvas of silence
where everything is slight vortex
That Shakes the moment.

I would like an eternal embrace
accompanying between secret rooms
where a whisper would tell you
voices and beats of fantasy and reality.

I would like to leave all fears
on the side of the road
wayfarer and to be reminded that
every step run-up and left

Be what they are now
a reflection in the magic of crystal
ripples on the sea and welcomes
all items in the world without borders.

01.08.2008 Poetyca

Allan Wallance – Meditazione sulla gioia empatica – Allan Wallance – Meditation on empathic joy


Allan Wallance – Meditazione sulla gioia empatica

Assumete una posizione comoda, mantenendo la colonna vertebrale diritta. Stabilizzate il corpo nel suo stato di riposo, e lasciate che sia pervaso delle tre qualità del rilassamento, della calma e della vigilanza. Pensate a una persona di vostra conoscenza che emani un senso d’allegria e benessere, e riflettete sul suo aspetto fisico, sulle sue parole e azioni. Mentre vi concentrate sulla gioia di questa persona, aprite il cuore al suo stato d’animo e deliziatevene. Ciò vi sarà facile se già le siete molto legati.

Ora richiamate alla mente un’altra persona, a cui di recente o in passato sia accaduto qualcosa di meraviglioso. Rivivete la sua felicità e condividetela. Adesso pensate a qualcuno che sia per voi fonte d’ispirazione per le sue doti di generosità, gentilezza o saggezza. Compiacetevi di queste qualità positive, per il bene per quella persona, per voi stessi e per tutti coloro che ne beneficiano.

Ora volgete la consapevolezza alla vostra vita. È infatti assai importante provare la gioia empatica anche per le proprie virtù, sebbene spesso non sia tenuta nella giusta considerazione. Pensate a periodi della vostra esistenza che sono stati fonte d’ispirazione per voi e forse anche per altri. Concentratevi sulle occasioni in cui avete incarnato i vostri stessi ideali e gioite delle vostre qualità. Non occorre vantarsi o provare orgoglio e arroganza. Richiamando alla mente le persone e le circostanze che vi hanno permesso di vivere serenamente e di godere il frutto dei vostri sforzi, potrete anzi sperimentare un profondo senso di gioia e gratitudine. Ciò v’impedirà di cadere in un futile senso di autocompiacimento e superiorità.

Alcune pratiche sono difficili, ma non quella della gioia empatica. Per tutto il giorno, quando rileverete le qualità o la fortuna di qualcuno oppure ne sentirete parlare, gioitene in modo empatico. Ciò vi risolleverà il morale, oltre ad aiutarvi a riemergere dai cedimenti emotivi causati da depressione e scarsa autostima.

Da: Alan Wallace,La rivoluzione dell’attenzione. Liberare il potere della mente concentrata “

Astrolabio Ubaldini, 2008.

Allan Wallance – Meditation on empathic joy

Take a comfortable position, keeping the spine straight. Stabilize the body in its state of rest, and let it be imbued with the three qualities of relaxation, calm and alertness. Think of a person of your knowledge who emanates a sense of happiness and well-being, and reflect on his physical appearance, his words and actions. As you focus on the joy of this person, open your heart to your state of mind and delight in it. This will be easy if you are already very attached to it.
Now call to mind another person, to whom something wonderful has happened recently or in the past. Relive his happiness and share it. Now think of someone who is your source of inspiration for his gifts of generosity, kindness or wisdom. Take pleasure in these positive qualities, for the good for that person, for yourself and for all those who benefit from it.
Now turn awareness to your life. It is indeed very important to try empathic joy also for one’s own virtues, although often it is not held in proper consideration. Think of periods of your existence that have been an inspiration to you and perhaps others. Focus on the occasions when you have embodied your own ideals and enjoy your qualities. There is no need to boast or feel pride and arrogance. By recalling the people and circumstances that have allowed you to live serenely and enjoy the fruits of your efforts, you can even experience a deep sense of joy and gratitude. This will prevent you from falling into a futile sense of complacency and superiority.
Some practices are difficult, but not that of empathic joy. All day long, when you detect someone’s qualities or good fortune, or you’ll hear about it, enjoy it empathically. This will raise your morale, as well as help you re-emerge from the emotional failures caused by depression and low self-esteem.
From: Alan Wallace, “The revolution of attention. Freeing the power of the concentrated mind “, Astrolabio Ubaldini, 2008.

The best of Van Morrison



George Ivan “Van” Morrison (Belfast, 31 agosto 1945) è un cantante, polistrumentista e paroliere proveniente dall’Irlanda del Nord; suona diversi strumenti tra i quali chitarra, armonica a bocca, tastiere, sassofono e occasionalmente anche la batteria.

Dopo gli esordi blues rock con i Them, Morrison intraprese una carriera solista in bilico tra la passione giovanile per la musica nera, una forte vena sperimentale (che lo ha portato a sconfinare spesso in territori jazz) e uno stretto legame con la musica tradizionale della sua terra d’origine[1][2]. A rendere unico il suo stile contribuiscono la sua caratteristica vocalità[3] e una intensa poetica che abbraccia musica e parole in modo altamente espressivo.

La rivista Rolling Stone lo classifica quarantaduesimo nella sua lista dei cento migliori artisti di sempre[4] nonché ventiquattresimo in quella dei cento migliori cantanti[5]. Le sue esibizioni dal vivo, al suo meglio, sono state definite come mistiche e trascendenti.

Inoltre due suoi album, Astral Weeks e Moondance, compaiono nella lista dei 500 migliori album di sempre, ancora secondo Rolling Stone.

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

George Ivan “Van” Morrison, OBE (born 31 August 1945) is a Northern Irish singer-songwriter and musician. Some of his recordings, such as the studio albums Astral Weeks and Moondance and the live album It’s Too Late to Stop Now, are critically acclaimed. He has received six Grammy Awards, the Brit Award for Outstanding Contribution to Music, been inducted into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame.

Known as “Van the Man” to his fans, Morrison started his professional career when, as a teenager in the late 1950s, he played a variety of instruments including guitar, harmonica, keyboards and saxophone for various Irish showbands covering the popular hits of the day. He rose to prominence in the mid-1960s as the lead singer of the Northern Irish R&B band Them, with whom he recorded the garage band classic “Gloria”. His solo career began under the pop-hit oriented guidance of Bert Berns with the release of the hit single “Brown Eyed Girl” in 1967. After Berns’ death, Warner Bros. Records bought out his contract and allowed him three sessions to record Astral Weeks in 1968.[1] Even though this album would gradually garner high praise, it was initially a poor seller; however, the next one, Moondance, established Morrison as a major artist,[2] and throughout the 1970s he built on his reputation with a series of critically acclaimed albums and live performances. Morrison continues to record and tour, producing albums and live performances that sell well and are generally warmly received, sometimes collaborating with other artists, such as Georgie Fame and The Chieftains. In 2008 he performed Astral Weeks live for the first time since 1968.

Much of Morrison’s music is structured around the conventions of soul music and R&B, such as the popular singles “Brown Eyed Girl”, “Jackie Wilson Said (I’m in Heaven When You Smile)”, “Domino” and “Wild Night”. An equal part of his catalogue consists of lengthy, loosely connected, spiritually inspired musical journeys that show the influence of Celtic tradition, jazz, and stream-of-consciousness narrative, such as Astral Weeks and lesser-known works such as Veedon Fleece and Common One.[3][4] The two strains together are sometimes referred to as “Celtic Soul”

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

Sulla via della pace – The Path to Peace


Sulla via della pace

Le battaglie nel mondo

Fate ogni cosa con una mente che sappia lasciare andare.
Non aspettatevi nessuna ricompensa o premio.
Se lasciate andare un poco, avrete un poco di pace.
Se lasciate andare completamente, conoscerete la pace e la libertà complete.
Le vostre battaglie con il mondo giungeranno al termine.
Achaan Chah

La pace è ogni passo

La pace è ogni passo.
Il fulgido sole rosso è il mio cuore.
Ogni fiore sorride con me.
Quanto verde rigloglio tutto intorno!
Com’è fresco il soffio del vento!
La pace è ogni passo.
E fa gioioso il sentiero senza fine.

La pace è ogni passo – Thich Nhat Hanh

Il sentiero della pace

del venerabile Ajahn Chah

© Ass. Santacittarama, 2002. Tutti i diritti sono riservati.

SOLTANTO PER DISTRIBUZIONE GRATUITA.

Traduzione di Silvana Ziviani.

Brani estratti da un discorso del Venerabile Ajahn Chah indirizzato ai monaci e ai novizi.

POSSIAMO DIRE CHE IL RETTO SENTIERO DELLA PACE, il sentiero che il Buddha ha scoperto e ci ha indicato, che conduce alla pace della mente, alla purezza e alla realizzazione delle qualità di un samana, è formato da sila (freno morale), samadhi(concentrazione) e pañña (saggezza). E’ una strada valida per tutti. Infatti i discepoli del Buddha che divennero illuminati, all’inizio erano delle persone ordinarie, come tutti noi. Anche il Buddha all’inizio era uno come noi. Praticarono e dall’opacità fecero emergere la luce, dalla rozzezza la bellezza e dalle cose vane e inutili grandi benefici per tutti.

Silasamadhi e pañña sono i nomi dati a tre diversi aspetti della pratica. Praticando sila, samadhi pañña, in effetti, praticate con voi stessi. La giusta sila esiste qui in questo momento, il giusto samadhiè qui. Perché? Perché il vostro corpo è qui! La pratica di silariguarda il corpo intero. Quindi, siccome il vostro corpo è qui, le mani, le gambe sono qui, è qui che praticate sila.

Un conto è tenere a mente tutta la lista dei comportamenti sbagliati da evitare, così come elencata nei libri, un altro conto è capire che le potenzialità che questi atteggiamenti hanno di crescere, risiede in voi. Praticare la disciplina morale vuol dire stare attenti ad evitare certe azioni, come uccidere, rubare ed avere una condotta sessuale scorretta. Il Buddha ci ha insegnato a prenderci cura di tutte le nostre azioni, anche delle più semplici.

Forse nel passato avete ucciso degli animali o degli insetti schiacciandoli o non siete stati troppo attenti nel parlare: il parlare sbagliato si ha quando si mente o si esagera la verità, mentre parlare in modo grossolano vuol dire essere aggressivi e offensivi verso gli altri, dicendo in continuazione ‘imbroglione’, ‘idiota’ e così via. Il parlare frivolo si ha quando i discorsi sono solo chiacchiere inutili, senza senso, sconclusionati, che vanno avanti senza voler dire niente. Ci siamo lasciati andare tutti qualche volta a questo genere di discorsi a ruota libera, quindi praticare silasignifica sorvegliare se stessi, sorvegliare le proprie azioni e le proprie parole.

Ma chi sorveglia? Chi si prende la responsabilità delle vostre azioni? Quando vi appropriate di qualcosa che non vi appartiene, chi è consapevole di quell’azione? E’ la mano? Questo è il punto su cui dovete sviluppare la consapevolezza. Chi sa che state per mentire, giurare o dire qualcosa di frivolo? Consapevole di ciò che dice è la bocca, o è colui che conosce il significato delle parole? Contemplate: ‘colui che conosce’, chiunque sia, deve prendersi la responsabilità della vostra sila. Portate questa consapevolezza a sorvegliare le vostre azioni e le parole. Per praticare sila, usate quella parte della mente che dirige le vostre azioni e che vi porta ad agire bene o male, a cacciare il furfante e a trasformarlo in uno sceriffo. Tenete ferma la mente capricciosa e portatela a servire e a prendersi la responsabilità di tutte le vostre azioni e parole. Osservate ciò e contemplatelo. Il Buddha ci ha esortato ad essere consapevoli delle nostre azioni. Chi è consapevole? Il corpo non ne sa niente; sa solo stare in piedi, camminare e cose del genere. Per poter fare qualsiasi cosa deve aspettare che qualcuno glielo ordini. La stessa cose vale per le mani, per la bocca.

La pratica comporta che si instauri sati – cioè la consapevolezza – in ‘colui che conosce’. ‘Colui che conosce’ è quell’intenzione della mente che prima ci portava ad uccidere esseri viventi, a rubare le cose altrui e a indulgere a una sessualità scorretta, a mentire, a calunniare, a parlare in modo sciocco e frivolo, a comportarci nei modi più sfrenati. E’ ‘colui che conosce’ che ci ha spinto a parlare; esso esiste nella mente. Focalizzate la consapevolezza (sati) – questa costante riflessione consapevole – su ‘colui che conosce’. Lasciate che la conoscenza si prenda cura della vostra pratica.

Usate sati, la consapevolezza, per mantenere la mente riflessiva, concentrata nel momento presente, ottenendo così la calma mentale. Fate che la mente badi a se stessa, e che lo faccia bene.

Mantenere sila – o in altre parole, prendersi cura delle azioni e delle parole – non è poi una cosa così difficile, se la mente sa badare a se stessa. Siate sempre consapevoli, ogni momento e in ogni postura: sdraiati, in piedi, camminando e seduti. Prima di compiere qualsiasi azione, prima di parlare o di impegnarvi in una conversazione, stabilite la consapevolezza, sati; dovete essere raccolti, prima di fare qualsiasi cosa. Non importa quello che direte, l’importante è raccogliersi nella mente. Esercitatevi fino a diventare molto abili. Praticate, in modo da essere sempre al corrente di ciò che capita nella mente; praticate fino a quando la consapevolezza diventi così naturale da essere presente ancora prima di agire o di parlare. E’ questo il modo per stabilire la consapevolezza nel cuore. E’ con ‘colui che conosce’ che sorvegliate voi stessi, perché tutte le azioni vengono da lui. E’ qui che hanno origine le intenzioni che produrranno l’azione ed è per questo che la pratica non avrà successo se fate svolgere questo compito a qualcun altro.

Le vostre parole e le vostre azioni, sempre tenute a bada, diventeranno aggraziate e piacevoli sia all’occhio che all’orecchio, mentre voi stessi, sarete perfettamente a vostro agio all’interno di questa disciplina. Se praticate la consapevolezza e il controllo fino a renderli atteggiamenti naturali, la mente diventerà ferma e risoluta nella pratica di sila. Farà costantemente attenzione alla pratica, riuscendo così a concentrarsi completamente. In altre parole, la pratica basata sul controllo e la disciplina, in cui vi prendete costantemente cura delle azioni e delle parole, in cui siete completamente responsabili del comportamento esteriore che avete, si chiama sila, mentre samadhi è caratterizzato dalla saldezza della consapevolezza, a sua volta derivato dalla ferma concentrazione nella pratica di sila. Queste sono le caratteristiche di samadhi, come fattore esterno della pratica. Ma vi è un lato più profondo e interiore.

Una volta che la mente sia concentrata nella pratica e che sila e samadhi si siano stabilizzati, sarete in grado di investigare e riflettere su ciò che è salutare e ciò che non lo è, chiedendo a voi stessi “questo è giusto? O non è giusto?”, man mano che sperimentate i vari contenuti mentali. Quando la mente entra in contatto con cose visive, con suoni, odori, gusti, con sensazioni tattili o con idee, ‘colui che conosce’ apparirà e stabilirà la consapevolezza del piacere e dispiacere, della felicità e della sofferenza, e di tutti gli oggetti mentali che si vanno sperimentando. Riuscirete finalmente a ‘vedere’ chiaramente e osserverete un’infinità di cose diverse.

Se siete consapevoli, vedrete i vari oggetti che passano nella mente e la reazione che accompagna l’esperienza di essi. ‘Colui che conosce’ li prenderà automaticamente come oggetti di contemplazione. Quando la mente è vigile e la consapevolezza ferma e stabile, noterete facilmente le reazioni che si manifestano per mezzo del corpo, della parola o della mente, man mano che si sperimentano questi oggetti mentali. Tale aspetto della mente che identifica e seleziona il buono dal cattivo, il giusto dallo sbagliato, in mezzo agli oggetti mentali che rientrano nel campo della consapevolezza, è pañña, una pañña allo stadio iniziale, che maturerà con l’avanzare della pratica. Tutti questi vari aspetti della pratica sorgono dall’interno della mente. Il Buddha si riferì a queste caratteristiche chiamandole sila, samadhi e pañña.

Continuando la pratica, vedrete sorgere nella mente altri attaccamenti e illusioni. Questo significa che ora state attaccandovi a ciò che è buono e sano. Diventate timorosi di ogni caduta o errore della mente, temendo che il samadhi ne risenta. Nello stesso tempo cominciate ad essere diligenti nella pratica, ad amarla e a coltivarla, lavorandovi con grande energia.

Continuate a praticare così il più a lungo possibile, fino a quando forse raggiungerete il punto in cui non farete altro che giudicare e trovare errori in chiunque incontrate, ovunque andiate. Reagite continuamente con attrazione o avversione al mondo che vi circonda, diventando sempre più incerti sulla correttezza di ciò che fate. E’ come se foste ossessionati dalla pratica. Ma non preoccupatevene; a questo punto è meglio praticare troppo che troppo poco. Praticate molto e dedicatevi a sorvegliare il corpo, la parola e la mente. Di questo esercizio non ne farete mai abbastanza. Tenetevi ancorati agli oggetti mentali rappresentati dalla consapevolezza e dal controllo sul corpo, sulla parola e sulla mente, e dalla discriminazione tra giusto e sbagliato. In questo modo svilupperete sempre più la concentrazione e rimanendo costantemente e fermamente ancorati a questo modo di praticare, la mente diventerà essa stessa sila, samadhi e pañña, le caratteristiche della pratica come descritte negli insegnamenti tradizionali.

Man mano che continuate a sviluppare la pratica, queste differenti caratteristiche e qualità, si perfezioneranno nella mente. Tuttavia la pratica di sila, samadhi pañña, a questo livello non è sufficiente per produrre i fattori di jhana (assorbimento meditativo) – la pratica è ancora troppo grossolana. Eppure la mente è abbastanza raffinata (sempre relativamente alla grossolanità di base!). E tale appare a una normale persona non illuminata, che non abbia curato troppo la propria mente e che non abbia praticato la meditazione e la consapevolezza.

A questo livello si può sentire un certo senso di soddisfazione per riuscire a praticare al massimo delle proprie possibilità e lo vedrete da soli. E’ qualcosa che solo il praticante può sperimentare all’interno della propria mente. E se questo avviene, potete ritenervi già sulla giusta via. State camminando solo all’inizio del sentiero – ai livelli più elementari – ma, per certi versi, questi sono gli stadi più difficili. State praticando sila, samadhi e pañña e dovete continuare a praticarli sempre tutti e tre, poiché se ne manca anche solo uno, la pratica non si svilupperà in modo corretto. Più cresce sila, più solida e concentrata diviene la mente. Più la mente è stabile più consistente diventa pañña, e così via; ogni parte della pratica sostiene e si collega all’altra.

Man mano che approfondite e raffinate la pratica, sila, samadhi paññamatureranno insieme sgorgando dalla stessa fonte, come infatti si sono raffinate sbozzandosi dallo stesso materiale grezzo. In altre parole, il Sentiero ha inizi grossolani, ma raffinando ed esercitando la mente con la meditazione e la riflessione, tutto diventa via via più raffinato.

Quando la mente è più raffinata, la pratica della consapevolezza si focalizza meglio, poiché è concentrata su un’area più ristretta. Anzi, la pratica diventa molto più facile, quando la mente si concentra sempre di più su se stessa. Ormai non fate più grossi sbagli, ormai, quando la mente è presa in qualche problema, quando sorgono dubbi se è giusto o no agire o dire certe cose, semplicemente fermate la proliferazione mentale e, intensificando gli sforzi nella pratica, continuate a volgere l’attenzione sempre più in profondità in voi stessi. Così la pratica del samadhi diverrà vieppiù ferma e concentrata, mentre la pratica di pañña si rafforza, permettendo di vedere le cose più chiaramente e più naturalmente.

Il risultato è che potrete vedere la mente e i suoi oggetti nitidamente, senza dover fare distinzione fra mente, corpo e parola. Continuando a volgere l’attenzione all’interno di sé e continuando a riflettere sul Dhamma, la facoltà della saggezza gradualmente maturerà fino al punto che potrete contemplare la mente e gli oggetti mentali soltanto, ciò significa che state cominciando a sperimentare il corpo come immateriale. Quando l’intuizione è così sviluppata, non andrete più a tentoni, incerti su come interpretare il corpo e il suo modo di essere. La mente sperimenterà le caratteristiche fisiche del corpo come oggetti senza forma con cui essa entra in contatto. Infine, contemplerete solo la mente e gli oggetti mentali, cioè quegli oggetti che arrivano a livello di coscienza.

Esaminando ora la vera natura della mente, osserverete che, nel suo stato naturale, non ha preoccupazioni o ambizioni che la sommergano. E’ come una bandiera che sia stata legata all’estremità di un’asta; se niente la muove rimarrà così, tranquilla. E se si muove significa che c’è del vento, una forza esterna che la fa agitare. Allo stato naturale, la mente fa lo stesso – in essa non vi è né amore né odio, né disapprovazione. Essa è indipendente, in uno stato di purezza che è completamente chiaro, raggiante, non offuscato. Nel suo stato puro la mente è pacifica, senza felicità o sofferenza, – in effetti non sperimenta nessun vedana(sensazione). E’ questo il vero stato della mente.

Lo scopo della pratica, quindi, è guardarsi internamente, cercando e investigando fino a quando troverete la mente originale. La mente originale è detta anche la mente pura. La mente pura è la mente senza attaccamenti. E’ in uno stato di perenne conoscenza e attenzione, completamente consapevole di ciò che sta sperimentando. Quando la mente è così non vi sono oggetti mentali piacevoli o spiacevoli che la possano turbare, non li insegue. La mente non ‘diventa’ nulla. In altre parole, nulla può scuoterla. La mente conosce se stessa come purezza. Si è evoluta verso una vera, completa indipendenza; ha raggiunto il suo stato originale.

E come ha potuto raggiungere questo stato originale? Attraverso la facoltà della consapevolezza, riflettendo con saggezza e vedendo che tutte le cose sono solo condizioni che sorgono dal mutuo interagire degli elementi, senza che vi sia nessuno che li controlli. E così capita anche quando sperimentiamo la gioia e la sofferenza. Questi stati mentali sono solo “felicità” e “sofferenza”. Non vi è qualcuno che ‘ha’ la felicità, la mente non ‘possiede’ la sofferenza; gli stati mentali non ‘appartengono’ alla mente. Osservatelo voi stessi. In effetti, queste sono cose che non riguardano la mente, sono separate, distinte da essa. La felicità è solo uno stato di felicità; la sofferenza è solo uno stato di sofferenza. Voi siete solo coloro che sanno questo.

In passato, a causa delle radici dell’avidità, dell’odio e dell’illusione presenti nella mente, essa avrebbe reagito immediatamente quando entravate in contatto con qualcosa di piacevole o spiacevole, e attraverso questa reazione vi sareste ‘impadroniti’ di quell’oggetto mentale, sperimentandolo come sofferenza o gioia. E così potrà avvenire ancora fino a quando la mente non conoscerà se stessa, fino a quando non sarà chiara e illuminata. Quando la mente non è libera, si lascia influenzare da qualsiasi oggetto mentale le capiti di sperimentare. In altre parole, non ha un rifugio, è incapace di dipendere veramente da se stessa. In questa situazione, quando ricevete una piacevole impressione mentale diventate allegri o diventate tristi quando l’oggetto mentale è spiacevole. Così la mente dimentica se stessa.

La mente originale, invece, è al di là del bene e del male, poiché questa è la natura originale della mente. E’ un’illusione essere felici per aver sperimentato un oggetto mentale piacevole. E’ un’illusione essere tristi per aver sperimentato un oggetto mentale spiacevole. Gli oggetti mentali sorgono con il mondo, sono il mondo. Danno l’avvio alla felicità e alla sofferenza, al bene e al male, e a tutto ciò che è soggetto all’impermanenza e all’incertezza. Quando vi separate dalla mente originale, tutto diventa incerto: solo una catena interminabile di nascita e morte, dubbi e apprensioni, sofferenza e fatica, senza la possibilità di fermare, di far cessare tutto ciò. E’ questa la ruota eterna delle rinascite.

Samadhi significa la mente fermamente concentrata, e più praticate più la mente diventa stabile. Più la mente è concentrata, più essa diventa risoluta nella pratica. Più contemplate, più diventate fiduciosi e la mente diventerà così stabile che non potrà più essere smossa da nulla. Sapete perfettamente che nessun oggetto mentale la può scuotere. Gli oggetti mentali sono oggetti mentali; la mente è la mente. La mente sperimenta stati mentali buoni o cattivi, felicità e sofferenza, perché viene illusa dagli oggetti mentali. La mente che non si fa ingannare non può essere turbata da nulla, poiché nello stato di consapevolezza, vede tutte le cose come elementi naturali che sorgono e scompaiono: solo questo! Si può avere questo tipo di esperienza anche quando non si è riusciti a lasciar andare completamente.

Semplificando, lo stato che è sorto, è la mente stessa. Se contemplate seguendo la verità delle cose così come sono, vi accorgerete che esiste un solo sentiero e che è vostro dovere seguirlo. Significa che sapete, fin dall’inizio, che gli stati mentali di felicità e dolore non sono il sentiero da seguire. E’ qualcosa che dovete capire da soli: è la verità delle cose così come sono! Siete in grado di capire tutto ciò – siete consapevoli con la giusta visione delle cose – ma allo stesso tempo non siete in grado di lasciar andare completamente i vostri attaccamenti.

Qual è allora il modo giusto di praticare? State nella via di mezzo, che vuol dire prendere nota dei vari stati di gioia e dolore, ma contemporaneamente teneteli a debita distanza sia da un’esagerazione che dall’altra. Questa è la via corretta di praticare: mantenere la consapevolezza anche se non siete in grado di lasciar andare. E’ la via più giusta, poiché, anche se la mente è aggrappata ai vari stati di gioia o sofferenza, vi è sempre la consapevolezza di questo attaccamento. Ciò significa che quando la mente si attacca a stati di felicità, voi non le date importanza e non ne gioite e altrettanto non criticate gli stati di sofferenza. In questo modo potete veramente osservare la mente così com’è. Quando praticate fino al punto di portare la mente oltre la gioia e l’infelicità, automaticamente sorgerà l’equanimità, e voi non dovrete fare altro che contemplarla come un oggetto mentale e seguirla, pian pianino. Il cuore sa dove andare per essere oltre le negatività, e anche se non è ancora pronto a trascenderle, le mette da parte e continua a praticare.

Quando sorge la felicità e la mente vi si attacca, prendete proprio questa felicità come oggetto di contemplazione; lo stesso, se la mente si attacca all’infelicità, prendete questa infelicità come oggetto di contemplazione. Finalmente la mente raggiungerà uno stadio in cui sarà pienamente consapevole sia della felicità che dell’infelicità. E questo accadrà quando sarà in grado di mettere da parte sia la felicità che la sofferenza, sia il piacere che la tristezza, quando sarà in grado di mettere da parte il mondo per diventare allora il ‘conoscitore dei mondi’. Una volta che la mente ‘colei che conosce’ – può lasciar andare, è qui che si stabilizzerà ed allora la pratica diventa veramente interessante.

Ogni volta che vi è attaccamento nella mente, continuate a battere su quel punto, senza lasciar andare. Se c’è attaccamento alla felicità, continuate a meditarvi sopra, senza permettere che la mente si allontani da quello stato d’animo. Se la mente si attacca alla sofferenza, afferratevi a ciò, tenendovi ben stretti e contemplando subito quella disposizione d’animo. Anche se la mente è intrappolata in uno stato mentale negativo, riconoscetelo come uno stato d’animo negativo e la mente non ne sarà più distratta. E’ come quando si capita in un cespuglio di rovi; ovviamente non lo fate appositamente, anzi cercate di evitarlo, ma può capitare che vi troviate a camminare tra le spine. E come vi sentite allora? Naturalmente provate avversione. Anche se lo sapete, non potete fare a meno di essere ‘in mezzo alle spine’. La mente continua ancora a inseguire i vari stati di felicità e sofferenza, ma non indulge in essi. Il vostro è un continuo sforzo per eliminare ogni attaccamento dalla mente, per eliminare e per ripulire la mente da tutto ciò che è esteriore, mondano.

Alcuni vogliono pacificare la mente, ma essi stessi non sanno che cos’è la pace. Non sanno che cos’è una mente tranquilla! Vi sono due tipi di tranquillità mentale: uno è la pace che viene per mezzo del samadhi,l’altro è la pace che viene da pañña. La mente che è calma per mezzo disamadhi è una mente ancora in preda all’illusione. La pace che si raggiunge per mezzo del solo samadhi, dipende dal fatto che la mente è separata dagli oggetti mentali. Quando non sperimenta alcun oggetto mentale, allora è calma, e perciò uno si attacca alla felicità collegata a questa pace. Tuttavia, quando c’è il contatto con i sensi, la mente vi si precipita dentro subito, poiché ha paura degli oggetti mentali. Ha paura della felicità e della sofferenza; ha paura della lode e della critica, ha paura delle forme, dei suoni, degli odori e dei gusti. Chi ha la pace per mezzo di samadhi ha paura di tutto e non vuole essere coinvolto in niente e con nessuno. La gente che pratica samadhi in questo modo, vorrebbe isolarsi in una grotta, dove può sperimentare in pieno la beatitudine delsamadhi, senza mai doverne uscire fuori. Appena trovano un posto isolato, vi si intrufolano e vi si nascondono.

Questo tipo di samadhi porta con sé molta sofferenza: per loro è difficile uscirne fuori e avvicinarsi agli altri. Non vogliono vedere forme o udire suoni. Non vogliono sperimentare completamente nulla! Devono vivere in appositi luoghi particolarmente tranquilli, dove nessuno possa disturbarli con la presenza o con le parole.

Questo tipo di pace non è utile allo scopo. Quando avete raggiunto un normale livello di calma, allontanatevene. Il Buddha non ci ha insegnato a praticare samadhi nell’illusione. Se vi accorgete di praticare in questa maniera, smettete subito. Se la mente ha raggiunto la calma, usate questa calma come base di contemplazione. Contemplate la pace della concentrazione e usatela per collegare la mente con i vari oggetti mentali che sperimenta, riflettendoci poi sopra. Contemplate le tre caratteristiche di aniccam (impermanenza), dukkham (sofferenza) e anatta (non-sé). Riflettete e quando avrete contemplato abbastanza, potete ristabilire senza pericolo la calma del samadhi, sedendo in meditazione e poi, una volta riottenuta la calma, riprendete la contemplazione. Man mano che acquistate conoscenza, usatela per combattere le negatività e allenare la mente.

La pace che viene per mezzo di pañña è un’altra cosa, perché quando la mente lascia lo stato di calma, la presenza di pañña la salva dal timore per le forme, i suoni, gli odori, i gusti, le sensazioni tattili e le idee. Vuol dire che ogni volta che c’è un contatto sensoriale, la mente è subito consapevole dell’oggetto mentale e lo lascia perdere – la consapevolezza è abbastanza acuta per poterlo fare immediatamente. Questa è la pace che arriva per mezzo di pañña.

Quando praticate in questo modo, la mente diventa molto più raffinata di quando sviluppavate solo samadhi. La mente diventa potentissima e non cerca più di scappare. E’ questa energia che allontana ogni timore. Prima avevate paura di ogni esperienza, ma ora conoscete gli oggetti mentali per quello che sono e non ne siete quindi più spaventati. Conoscete la vostra stessa forza mentale e non ne siete più intimoriti. Quando vedete una forma, la contemplate; quando udite un suono, lo contemplate. Diventate abili nella contemplazione degli oggetti mentali e comunque essi siano, li potete lasciar andare. Vedete chiaramente la felicità e la lasciate andare. Qualsiasi cosa vediate, la lasciate subito andare. In tal modo tutti gli oggetti mentali perdono la loro forza e non possono più trascinarvi con loro. Quando sorgono queste caratteristiche nella mente del praticante, si può cambiare il nome della pratica, chiamandola vipassana, che significa chiara conoscenza in accordo con la verità. E’ tutto qui: conoscenza in accordo con la verità sulle cose così come sono. Questa è pace al più alto livello, la pace di vipassana.

Il vero scopo della pratica, quindi, non è sviluppare samadhi, sedendosi in meditazione e aggrappandosi a quello stato di beatitudine che procura. Dovete anzi evitare questo stato. Il Buddha ha detto che dovete combattere apertamente la vostra battaglia, non nascondervi in una trincea cercando di evitare le pallottole del nemico. Quando è il momento di lottare, dovete saltar fuori con le armi in pugno, dovete per forza uscire dal nascondiglio. Non potete più stare lì a poltrire quando è tempo di battaglia. Questa è la pratica. Non dovete permettere che la mente si nasconda, acquattandosi nell’ombra.

Ho spiegato la pratica a grandi linee, affinché non abbiate ad impantanarvi nel dubbio, affinché non vi siano esitazioni sul modo di praticare. Quando c’è la felicità, osservate quella felicità; quando c’è la sofferenza, osservate quella sofferenza. E così stabilizzati nella consapevolezza, provate a lasciarle andare entrambe, a metterle da parte. Ora che le avete osservate e quindi le conoscete, continuate a lasciarle andare. Non è importante che meditiate seduti o camminando, se continuate a pensare non fa niente. La cosa importante è essere sempre e continuamente consapevoli della propria mente. Se vi trovate invischiati in troppe proliferazioni mentali, raccoglietele tutte insieme, e contemplatele come se fossero un tutt’uno. Ne taglierete l’energia alla radice dicendo: “Tutti questi pensieri, queste idee e immaginazioni sono semplicemente delle proliferazioni mentali e basta. Tutto ciò è aniccam, dukkham anatta. In nessuno di loro risiede la certezza”. E poi lasciatele subito perdere.

© Ass. Santacittarama (& Wat Nong Pah Pong), 2006. Tutti i diritti sono riservati. SOLTANTO PER DISTRIBUZIONE
GRATUITA. 
On the Road to PeaceThe battles in the worldDo everything with a mind that knows how to let go.
Do not expect any reward or prize.
If you let go a little, you’ll have a little peace.
If you let go completely, you will know complete freedom andpeace.
Your battles with the world come to an end.

Achaan Chah

Peace is every step

Peace is every step.
The shining red sun is my heart.
Each flower smiles with me.
Rigloglio how green all around!
How cool the wind blowing!
Peace is every step.
It is the joyful endless path.

Peace is every step – Thich Nhat Hanh

The Path to Peace

Today I will give a teaching particularly for you as monks and novices, so please determine your hearts and minds to listen. There is nothing else for us to talk about other than the practice of the DhammaVinaya (Truth and Discipline).

Every one of you should clearly understand that now you have been ordained as Buddhist monks and novices and should be conducting yourselves appropriately. We have all experienced the lay life, which is characterised by confusion and a lack of formal Dhamma practice; now, having taken up the form of a Buddhistsamana1, some fundamental changes have to take place in our minds so that we differ from lay people in the way we think. We must try to make all of our speech and actions – eating and drinking, moving around, coming and going – befitting for one who has been ordained as a spiritual seeker, who the Buddha referred to as a samana. What he meant was someone who is calm and restrained. Formerly, as lay people, we didn’t understand what it meant to be a samana, that sense of peacefulness and restraint. We gave full license to our bodies and minds to have fun and games under the influence of craving and defilement. When we experienced pleasant ārammana2, these would put us into a good mood, unpleasant mind-objects would put us into a bad one – this is the way it is when we are caught in the power of mind-objects. The Buddha said that those who are still under the sway of mind-objects aren’t looking after themselves. They are without a refuge, a true abiding place, and so they let their minds follow moods of sensual indulgence and pleasure-seeking and get caught into suffering, sorrow, lamentation, pain, grief and despair. They don’t know how or when to stop and reflect upon their experience.

In Buddhism, once we have received ordination and taken up the life of the samana, we have to adjust our physical appearance in accordance with the external form of the samana: we shave our heads, trim our nails and don the brown bhikkhus’3 robes – the banner of the Noble Ones, the Buddha and the Arahants4. We are indebted to the Buddha for the wholesome foundations he established and handed down to us, which allow us to live as monks and find adequate support. Our lodgings were built and offered as a result of the wholesome actions of those with faith in the Buddha and His teachings. We do not have to prepare our food because we are benefiting from the roots laid down by the Buddha. Similarly, we have inherited the medicines, robes and all the other requisites that we use from the Buddha. Once ordained as Buddhist monastics, on the conventional level we are called monks and given the title ‘Venerable’5; but simply having taken on the external appearance of monks does not make us truly venerable. Being monks on the conventional level means we are monks as far as our physical appearance goes. Simply by shaving our heads and putting on brown robes we are called ‘Venerable’, but that which is truly worthy of veneration has not yet arisen within us – we are still only ‘Venerable’ in name. It’s the same as when they mould cement or cast brass into a Buddha image: they call it a Buddha, but it isn’t really that. It’s just metal, wood, wax or stone. That’s the way conventional reality is.

It’s the same for us. Once we have been ordained, we are given the title Venerable Bhikkhu, but that alone doesn’t make us venerable. On the level of ultimate reality – in other words, in the mind – the term still doesn’t apply. Our minds and hearts have still not been fully perfected through the practice with such qualities as mettā (kindness), karunā (compassion), muditā (sympathetic joy) and upekkhā (equanimity). We haven’t reached full purity within. Greed, hatred and delusion are still barring the way, not allowing that which is worthy of veneration to arise.

Our practice is to begin destroying greed, hatred and delusion – defilements which for the most part can be found within each and every one of us. These are what hold us in the round of becoming and birth and prevent us from achieving peace of mind. Greed, hatred and delusion prevent the samana – peacefulness – from arising within us. As long as this peace does not arise, we are still not samana; in other words, our hearts have not experienced the peace that is free from the influence of greed, hatred and delusion. This is why we practise – with the intention of expunging greed, hatred and delusion from our hearts. It is only when these defilements have been removed that we can reach purity, that which is truly venerable.

Internalising that which is venerable within your heart doesn’t involve working only with the mind, but your body and speech as well. They have to work together. Before you can practise with your body and speech, you must be practising with your mind. However, if you simply practise with the mind, neglecting body and speech, that won’t work either. They are inseparable. Practising with the mind until it’s smooth, refined and beautiful is similar to producing a finished wooden pillar or plank: before you can obtain a pillar that is smooth, varnished and attractive, you must first go and cut a tree down. Then you must cut off the rough parts – the roots and branches – before you split it, saw it and work it. Practising with the mind is the same as working with the tree, you have to work with the coarse things first. You have to destroy the rough parts: destroy the roots, destroy the bark and everything which is unattractive, in order to obtain that which is attractive and pleasing to the eye. You have to work through the rough to reach the smooth. Dhamma practice is just the same. You aim to pacify and purify the mind, but it’s difficult to do. You have to begin practising with externals – body and speech – working your way inwards until you reach that which is smooth, shining and beautiful. You can compare it with a finished piece of furniture, such as these tables and chairs. They may be attractive now, but once they were just rough bits of wood with branches and leaves, which had to be planed and worked with. This is the way you obtain furniture that is beautiful or a mind that is perfect and pure.

Therefore the right path to peace, the path the Buddha laid down, which leads to peace of mind and the pacification of the defilements, is sīla (moral restraint), samādhi (concentration) andpaññā (wisdom). This is the path of practice. It is the path that leads you to purity and leads you to realise and embody the qualities of the samana. It is the way to the complete abandonment of greed, hatred and delusion. The practice does not differ from this whether you view it internally or externally.

This way of training and maturing the mind – which involves the chanting, the meditation, the Dhamma talks and all the other parts of the practice – forces you to go against the grain of the defilements. You have to go against the tendencies of the mind, because normally we like to take things easy, to be lazy and avoid anything which causes us friction or involves suffering and difficulty. The mind simply doesn’t want to make the effort or get involved. This is why you have to be ready to endure hardship and bring forth effort in the practice. You have to use the dhammaof endurance and really struggle. Previously your bodies were simply vehicles for having fun, and having built up all sorts of unskilful habits it’s difficult for you to start practising with them. Before, you didn’t restrain your speech, so now it’s hard to start restraining it. But as with that wood, it doesn’t matter how troublesome or hard it seems: before you can make it into tables and chairs, you have to encounter some difficulty. That’s not the important thing; it’s just something you have to experience along the way. You have to work through the rough wood to produce the finished pieces of furniture.

The Buddha taught that this is the way the practice is for all of us. All of his disciples who had finished their work and become fully enlightened, had, (when they first came to take ordination and practise with him) previously been puthujjana (ordinary worldlings). They had all been ordinary unenlightened beings like ourselves, with arms and legs, eyes and ears, greed and anger – just the same as us. They didn’t have any special characteristics that made them particularly different from us. This was how both the Buddha and his disciples had been in the beginning. They practised and brought forth enlightenment from the unenlightened, beauty from the ugliness and great benefit from that which was virtually useless. This work has continued through successive generations right up to the present day. It is the children of ordinary people – farmers, traders and businessmen – who, having previously been entangled in the sensual pleasures of the world, go forth to take ordination. Those monks at the time of the Buddha were able to practise and train themselves, and you must understand that you have the same potential. You are made up of the five khandhas6 (aggregates), just the same. You also have a body, pleasant and unpleasant feelings, memory and perception, thought formations and consciousness – as well as a wandering and proliferating mind. You can be aware of good and evil. Everything’s just the same. In the end, that combination of physical and mental phenomena present in each of you, as separate individuals, differs little from that found in those monastics who practised and became enlightened under the Buddha. They had all started out as ordinary, unenlightened beings. Some had even been gangsters and delinquents, while others were from good backgrounds. They were no different from us. The Buddha inspired them to go forth and practise for the attainment of magga (the Noble Path) and phala (Fruition)7, and these days, in similar fashion, people like yourselves are inspired to take up the practice of sīlasamādhi and paññā.

Sīlasamādhi and paññā are the names given to the different aspects of the practice. When you practise sīlasamādhi and paññā, it means you practise with yourselves. Right practice takes place here within you. Right sīla exists here, right samādhi exists here. Why? Because your body is right here. The practice of sīla involves every part of the body. The Buddha taught us to be careful of all our physical actions. Your body exists here! You have hands, you have legs right here. This is where you practise sīla. Whether your actions will be in accordance with sīla and Dhamma depends on how you train your body. Practising with your speech means being aware of the things you say. It includes avoiding wrong kinds of speech, namely divisive speech, coarse speech and unnecessary or frivolous speech. Wrong bodily actions include killing living beings, stealing and sexual misconduct.

It’s easy to reel off the list of wrong kinds of behaviour as found in the books, but the important thing to understand is that the potential for them all lies within us. Your body and speech are with you right here and now. You practise moral restraint, which means taking care to avoid the unskilful actions of killing, stealing and sexual misconduct. The Buddha taught us to take care with our actions from the very coarsest level. In the lay life you might not have had very refined moral conduct and frequently transgressed the precepts. For instance, in the past you may have killed animals or insects by smashing them with an axe or a fist, or perhaps you didn’t take much care with your speech: false speech means lying or exaggerating the truth; coarse speech means you are constantly being abusive or rude to others – ‘you scum,’ ‘you idiot,’ and so on; frivolous speech means aimless chatter, foolishly rambling on without purpose or substance. We’ve indulged in it all. No restraint! In short, keeping sīla means watching over yourself, watching over your actions and speech.

So who will do the watching over? Who will take responsibility for your actions? When you kill some animal, who is the one who knows? Is your hand the one who knows, or is it someone else? When you steal someone else’s property, who is aware of the act? Is your hand the one who knows? This is where you have to develop awareness. Before you commit some act of sexual misconduct, where is your awareness? Is your body the one who knows? Who is the one who knows before you lie, swear or say something frivolous? Is your mouth aware of what it says, or is the one who knows in the words themselves? Contemplate this: whoever it is who knows is the one who has to take responsibility for your sīla. Bring that awareness to watch over your actions and speech. That knowing, that awareness is what you use to watch over your practice. To keep sīla, you use that part of the mind which directs your actions and which leads you to do good and bad. You catch the villain and transform him into a sheriff or a mayor. Take hold of the wayward mind and bring it to serve and take responsibility for all your actions and speech. Look at this and contemplate it. The Buddha taught us to take care with our actions. Who is it who does the taking care? The body doesn’t know anything; it just stands, walks around and so on. The hands are the same; they don’t know anything. Before they touch or take hold of anything, there has to be someone who gives them orders. As they pick things up and put them down there has to be someone telling them what to do. The hands themselves aren’t aware of anything; there has to be someone giving them orders. The mouth is the same – whatever it says, whether it tells the truth or lies, is rude or divisive, there must be someone telling it what to say.

The practice involves establishing sati, mindfulness, within this ‘one who knows.’ The ‘one who knows’ is that intention of mind, which previously motivated us to kill living beings, steal other people’s property, indulge in illicit sex, lie, slander, say foolish and frivolous things and engage in all the kinds of unrestrained behaviour. The ‘one who knows’ led us to speak. It exists within the mind. Focus your mindfulness or sati – that constant recollectedness – on this ‘one who knows.’ Let the knowing look after your practice.

In practice, the most basic guidelines for moral conduct stipulated by the Buddha were: to kill is evil, a transgression of sīla; stealing is a transgression; sexual misconduct is a transgression; lying is a transgression; vulgar and frivolous speech are all transgressions of sīla. You commit all this to memory. It’s the code of moral discipline, as laid down by the Buddha, which encourages you to be careful of that one inside of you who was responsible for previous transgressions of the moral precepts. That one, who was responsible for giving the orders to kill or hurt others, to steal, to have illicit sex, to say untrue or unskilful things and to be unrestrained in all sorts of ways – singing and dancing, partying and fooling around. The one who was giving the orders to indulge in all these sorts of behaviour is the one you bring to look after the mind. Use sati or awareness to keep the mind recollecting in the present moment and maintain mental composure in this way. Make the mind look after itself. Do it well.

If the mind is really able to look after itself, it is not so difficult to guard speech and actions, since they are all supervised by the mind. Keeping sīla – in other words taking care of your actions and speech – is not such a difficult thing. You sustain awareness at every moment and in every posture, whether standing, walking, sitting or lying down. Before you perform any action, speak or engage in conversation, establish awareness first – don’t act or speak first, establish mindfulness first and then act or speak. You must have sati, be recollecting, before you do anything. It doesn’t matter what you are going to say, you must first be recollecting in the mind. Practise like this until you are fluent. Practise so that you can keep abreast of what’s going on in the mind; to the point where mindfulness becomes effortless and you are mindful before you act, mindful before you speak. This is the way you establish mindfulness in the heart. It is with the ‘one who knows’ that you look after yourself, because all your actions spring from here.

This is where the intentions for all your actions originate and this is why the practice won’t work if you try to bring in someone else to do the job. The mind has to look after itself; if it can’t take care of itself, nothing else can. This is why the Buddha taught that keeping sīla is not that difficult, because it simply means looking after your own mind. If mindfulness is fully established, whenever you say or do something harmful to yourself or others, you will know straight away. You know that which is right and that which is wrong. This is the way you keep sīla. You practise with your body and speech from the most basic level.

By guarding your speech and actions they become graceful and pleasing to the eye and ear, while you yourself remain comfortable and at ease within the restraint. All your behaviour, manners, movements and speech become beautiful, because you are taking care to reflect upon, adjust and correct your behaviour. You can compare this with your dwelling place or the meditation hall. If you are regularly cleaning and looking after your dwelling place, then both the interior and the area around it will be pleasant to look at, rather than a messy eyesore. This is because there is someone looking after it. Your actions and speech are similar. If you are taking care with them, they become beautiful, and that which is evil or dirty will be prevented from arising.

Ādikalyānamajjhekalyānapariyosānakalyāna: beautiful in the beginning, beautiful in the middle and beautiful in the end; or harmonious in the beginning, harmonious in the middle and harmonious in the end. What does that mean? Precisely that the practice of sīlasamādhi and paññā is beautiful. The practice is beautiful in the beginning. If the beginning is beautiful, it follows that the middle will be beautiful. If you practise mindfulness and restraint until it becomes comfortable and natural to you – so that there is a constant vigilance – the mind will become firm and resolute in the practise of sīla and restraint. It will be consistently paying attention to the practice and thus become concentrated. That characteristic of being firm and unshakeable in the monastic form and discipline and unwavering in the practice of mindfulness and restraint can be referred to as ‘samādhi.’

That aspect of the practice characterised by a continuous restraint, where you are consistently taking care with your actions and speech and taking responsibility for all your external behaviour, is referred to as sīla. The characteristic of being unwavering in the practice of mindfulness and restraint is calledsamādhi. The mind is firmly concentrated in this practice of sīlaand restraint. Being firmly concentrated in the practice of sīlameans that there is an evenness and consistency to the practice of mindfulness and restraint. These are the characteristics of samādhias an external factor in the practice, used in keeping sīla. However, it also has an inner, deeper side to it. It is essential that you develop and maintain sīla and samādhi from the beginning – you have to do this before anything else.

Once the mind has an intentness in the practice and sīla andsamādhi are firmly established, you will be able to investigate and reflect on that which is wholesome and unwholesome – asking yourself… ‘Is this right?’… ‘Is that wrong?’ – as you experience different mind-objects. When the mind makes contact with different sights, sounds, smells, tastes, tactile sensations or ideas, the ‘one who knows’ will arise and establish awareness of liking and disliking, happiness and suffering and the different kinds of mind-objects that you experience. You will come to see clearly, and see many different things.

If you are mindful, you will see the different objects which pass into the mind and the reaction which takes place upon experiencing them. The ‘one who will automatically take them up as objects for contemplation. Once the mind is vigilant and mindfulness is firmly established, you will note all the reactions displayed through either body, speech or mind, as mind-objects are experienced. That aspect of the mind which identifies and selects the good from the bad, the right from the wrong, from amongst all the mind-objects within your field of awareness, ispaññā. This is paññā in its initial stages and it matures as a result of the practice. All these different aspects of the practice arise from within the mind. The Buddha referred to these characteristics assīlasamādhi and paññā. This is the way they are, as practised in the beginning.

As you continue the practice, fresh attachments and new kinds of delusion begin to arise in the mind. This means you start clinging to that which is good or wholesome. You become fearful of any blemishes or faults in the mind – anxious that your samādhiwill be harmed by them. At the same time you begin to be diligent and hard working, and to love and nurture the practice. Whenever the mind makes contact with mind-objects, you become fearful and tense. You become aware of other people’s faults as well, even the slightest things they do wrong. It’s because you are concerned for your practice. This is practising sīlasamādhi and paññā on one level – on the outside – based on the fact that you have established your views in accordance with the form and foundations of practice laid down by the Buddha. Indeed, these are the roots of the practice and it is essential to have them established in the mind.

You continue to practise like this as much as possible, until you might even reach the point where you are constantly judging and picking fault with everyone you meet, wherever you go. You are constantly reacting with attraction and aversion to the world around you, becoming full of all kinds of uncertainty and continually attaching to views of the right and wrong way to practise. It’s as if you have become obsessed with the practice. But you don’t have to worry about this yet – at that point it’s better to practise too much than too little. Practise a lot and dedicate yourself to looking after body, speech and mind. You can never really do too much of this. This is said to be practising sīla on one level; in fact, sīlasamādhi and paññā are all in there together.

If you were to describe the practice of sīla at this stage, in terms of pāramī8 (spiritual perfections), it would be dāna pāramī (the spiritual perfection of giving), or sīla pāramī (the spiritual perfection of moral restraint). This is the practice on one level. Having developed this much, you can go deeper in the practice to the more profound level of dāna upapāramī9 and sīla upapāramī. These arise out of the same spiritual qualities, but the mind is practising on a more refined level. You simply concentrate and focus your efforts to obtain the refined from the coarse.

Once you have gained this foundation in your practice, there will be a strong sense of shame and fear of wrong-doing established in the heart. Whatever the time or place – in public or in private – this fear of wrong doing will always be in the mind. You become really afraid of any wrong doing. This is a quality of mind that you maintain throughout every aspect of the practice. The practice of mindfulness and restraint with body, speech and mind and the consistent distinguishing between right and wrong is what you hold as the object of mind. You become concentrated in this way and by firmly and unshakeably attaching to this way of practice, it means the mind actually becomes sīlasamādhi and paññā – the characteristics of the practice as described in the conventional teachings.

As you continue to develop and maintain the practice, these different characteristics and qualities are perfected together in the mind. However, practising sīlasamādhi and paññā at this level is still not enough to produce the factors of jhāna10 (meditative absorption) – the practice is still too coarse. Still, the mind is already quite refined – on the refined side of coarse! For an ordinary unenlightened person who has not been looking after the mind or practised much meditation and mindfulness, just this much is already something quite refined. It’s like a poor person – owning two or three pounds can mean a lot, though for a millionaire it’s almost nothing. This is the way it is. A few quid is a lot when you’re down and out and hard up for cash, and in the same way, even though in the early stages of the practice you might still only be able to let go of the coarser defilements, this can still seem quite profound to one who is unenlightened and has never practised or let go of defilements before. At this level, you can feel a sense of satisfaction with being able to practise to the full extent of your ability. This is something you will see for yourself; it’s something that has to be experienced within the mind of the practitioner.

If this is so, it means that you are already on the path, i.e. practising sīlasamādhi and paññā. These must be practised together, for if any are lacking, the practice will not develop correctly. The more your sīla improves, the firmer the mind becomes. The firmer the mind is, the bolder paññā becomes and so on… each part of the practice supporting and enhancing all the others. In the end, because the three aspects of the practice are so closely related to each other, these terms virtually become synonymous. This is characteristic of sammā patipadā (right practice), when you are practising continuously, without relaxing your effort.

If you are practising in this way, it means that you have entered upon the correct path of practice. You are travelling along the very first stages of the path – the coarsest level – which is something quite difficult to sustain. As you deepen and refine the practice,sīlasamādhi and paññā will mature together from the same place – they are refined down from the same raw material. It’s the same as our coconut palms. The coconut palm absorbs the water from the earth and pulls it up through the trunk. By the time the water reaches the coconut itself, it has become clean and sweet, even though it is derived from that plain water in the ground. The coconut palm is nourished by what are essentially the coarse earth and water elements, which it absorbs and purifies, and these are transformed into something far sweeter and purer than before. In the same way, the practice of sīlasamādhi and paññā – in other words Magga – has coarse beginnings, but, as a result of training and refining the mind through meditation and reflection, it becomes increasingly subtle.

As the mind becomes more refined, the practice of mindfulness becomes more focused, being concentrated on a more and more narrow area. The practice actually becomes easier as the mind turns more and more inwards to focus on itself. You no longer make big mistakes or go wildly wrong. Now, whenever the mind is affected by a particular matter, doubts will arise – such as whether acting or speaking in a certain way is right or wrong – you simply keep halting the mental proliferation and, through intensifying effort in the practice, continue turning your attention deeper and deeper inside. The practice of samādhi will become progressively firmer and more concentrated. The practice of paññā is enhanced so that you can see things more clearly and with increasing ease.

The end result is that you are clearly able to see the mind and its objects, without having to make any distinction between the mind, body or speech. You no longer have to separate anything at all – whether you are talking about the mind and the body or the mind and its objects. You see that it is the mind which gives orders to the body. The body has to depend on the mind before it can function. However, the mind itself is constantly subject to different objects contacting and conditioning it before it can have any effect on the body. As you continue to turn attention inwards and reflect on the Dhamma, the wisdom faculty gradually matures, and eventually you are left contemplating the mind and mind-objects – which means that you start to experience the body,rūpadhamma (material), as arūpadhamma (immaterial). Through your insight, you are no longer groping at or uncertain in your understanding of the body and the way it is. The mind experiences the body’s physical characteristics as arūpadhamma – formless objects – which come into contact with the mind. Ultimately, you are contemplating just the mind and mind-objects – those objects which come into your consciousness.

Now, examining the true nature of the mind, you can observe that in its natural state, it has no preoccupations or issues prevailing upon it. It’s like a piece of cloth or a flag that has been tied to the end of a pole. As long as it’s on its own and undisturbed, nothing will happen to it. A leaf on a tree is another example – ordinarily it remains quiet and unperturbed. If it moves or flutters this must be due to the wind, an external force. Normally, nothing much happens to leaves; they remain still. They don’t go looking to get involved with anything or anybody. When they start to move, it must be due to the influence of something external, such as the wind, which makes them swing back and forth. In its natural state, the mind is the same – in it, there exists no loving or hating, nor does it seek to blame other people. It is independent, existing in a state of purity that is truly clear, radiant and untarnished. In its pure state, the mind is peaceful, without happiness or suffering – indeed, not experiencing any vedanā (feeling) at all. This is the true state of the mind.

The purpose of the practice, then, is to seek inwardly, searching and investigating until you reach the original mind. The original mind is also known as the pure mind. The pure mind is the mind without attachment. It doesn’t get affected by mind-objects. In other words, it doesn’t chase after the different kinds of pleasant and unpleasant mind-objects. Rather, the mind is in a state of continuous knowing and wakefulness – thoroughly mindful of all it is experiencing. When the mind is like this, no pleasant or unpleasant mind-objects it experiences will be able to disturb it. The mind doesn’t ‘become’ anything. In other words, nothing can shake it. Why? Because there is awareness. The mind knows itself as pure. It has evolved its own, true independence; it has reached its original state. How is it able to bring this original state into existence? Through the faculty of mindfulness wisely reflecting and seeing that all things are merely conditions arising out of the influence of elements, without any individual being controlling them.

This is how it is with the happiness and suffering we experience. When these mental states arise, they are just ‘happiness’ and ‘suffering’. There is no owner of the happiness. The mind is not the owner of the suffering – mental states do not belong to the mind. Look at it for yourself. In reality these are not affairs of the mind, they are separate and distinct. Happiness is just the state of happiness; suffering is just the state of suffering. You are merely the knower of these. In the past, because the roots of greed, hatred and delusion already existed in the mind, whenever you caught sight of the slightest pleasant or unpleasant mind-object, the mind would react immediately – you would take hold of it and have to experience either happiness or suffering. You would be continuously indulging in states of happiness and suffering. That’s the way it is as long as the mind doesn’t know itself – as long as it’s not bright and illuminated. The mind is not free. It is influenced by whatever mind-objects it experiences. In other words, it is without a refuge, unable to truly depend on itself. You receive a pleasant mental impression and get into a good mood. The mind forgets itself.

In contrast, the original mind is beyond good and bad. This is the original nature of the mind. If you feel happy over experiencing a pleasant mind-object, that is delusion. If you feel unhappy over experiencing an unpleasant mind-object, that is delusion. Unpleasant mind-objects make you suffer and pleasant ones make you happy – this is the world. Mind-objects come with the world. They are the world. They give rise to happiness and suffering, good and evil, and everything that is subject to impermanence and uncertainty. When you separate from the original mind, everything becomes uncertain – there is just unending birth and death, uncertainty and apprehensiveness, suffering and hardship, without any way of halting it or bringing it to cessation. This is vatta (the endless round of rebirth).

Through wise reflection, you can see that you are subject to old habits and conditioning. The mind itself is actually free, but you have to suffer because of your attachments. Take, for example, praise and criticism. Suppose other people say you are stupid: why does that cause you to suffer? It’s because you feel that you are being criticised. You ‘pick up’ this bit of information and fill the mind with it. The act of ‘picking up,’ accumulating and receiving that knowledge without full mindfulness, gives rise to an experience that is like stabbing yourself. This is upādāna(attachment). Once you have been stabbed, there is bhava(becoming). Bhava is the cause for jāti (birth). If you train yourself not to take any notice of or attach importance to some of the things other people say, merely treating them as sounds contacting your ears, there won’t be any strong reaction and you won’t have to suffer, as nothing is created in the mind. It would be like listening to a Cambodian scolding you – you would hear the sound of his speech, but it would be just sound because you wouldn’t understand the meaning of the words. You wouldn’t be aware that you were being told off. The mind wouldn’t receive that information, it would merely hear the sound and remain at ease. If anybody criticised you in a language that you didn’t understand, you would just hear the sound of their voice and remain unperturbed. You wouldn’t absorb the meaning of the words and be hurt over them. Once you have practised with the mind to this point, it becomes easier to know the arising and passing away of consciousness from moment to moment. As you reflect like this, penetrating deeper and deeper inwards, the mind becomes progressively more refined, going beyond the coarser defilements.

Samādhi means the mind that is firmly concentrated, and the more you practise the firmer the mind becomes. The more firmly the mind is concentrated, the more resolute in the practice it becomes. The more you contemplate, the more confident you become. The mind becomes truly stable – to the point where it can’t be swayed by anything at all. You are absolutely confident that no single mind-object has the power to shake it. Mind-objects are mind-objects; the mind is the mind. The mind experiences good and bad mental states, happiness and suffering, because it is deluded by mind-objects. If it isn’t deluded by mind-objects, there’s no suffering. The undeluded mind can’t be shaken. This phenomenon is a state of awareness, where all things and phenomena are viewed entirely as dhātu11 (natural elements) arising and passing away – just that much. It might be possible to have this experience and yet still be unable to fully let go. Whether you can or can’t let go, don’t let this bother you. Before anything else, you must at least develop and sustain this level of awareness or fixed determination in the mind. You have to keep applying the pressure and destroying defilements through determined effort, penetrating deeper and deeper into the practice.

Having discerned the Dhamma in this way, the mind will withdraw to a less intense level of practice, which the Buddha and subsequent Buddhist scriptures describe as the Gotrabhū citta12. The Gotrabhū citta refers to the mind which has experienced going beyond the boundaries of the ordinary human mind. It is the mind of the puthujjana (ordinary unenlightened individual) breaking through into the realm of the ariyan (Noble One) – however, this phenomena still takes place within the mind of the ordinary unenlightened individual like ourselves. The Gotrabhūpuggala is someone, who, having progressed in their practice until they gain temporary experience of Nibbāna (enlightenment), withdraws from it and continues practising on another level, because they have not yet completely cut off all defilements. It’s like someone who is in the middle of stepping across a stream, with one foot on the near bank, and the other on the far side. They know for sure that there are two sides to the stream, but are unable to cross over it completely and so step back. The understanding that there exist two sides to the stream is similar to that of the Gotrabhū puggala or the Gotrabhū citta. It means that you know the way to go beyond the defilements, but are still unable to go there, and so step back. Once you know for yourself that this state truly exists, this knowledge remains with you constantly as you continue to practise meditation and develop your pāramī. You are both certain of the goal and the most direct way to reach it.

Simply speaking, this state that has arisen is the mind itself. If you contemplate according to the truth of the way things are, you can see that there exists just one path and it is your duty to follow it. It means that you know from the very beginning that mental states of happiness and suffering are not the path to follow. This is something that you have to know for yourself – it is the truth of the way things are. If you attach to happiness, you are off the path because attaching to happiness will cause suffering to arise. If you attach to sadness, it can be a cause for suffering to arise. You understand this – you are already mindful with right view, but at the same time, are not yet able to fully let go of your attachments.

So what is the correct way to practice? You must walk the middle path, which means keeping track of the various mental states of happiness and suffering, while at the same time keeping them at a distance, off to either side of you. This is the correct way to practise – you maintain mindfulness and awareness even though you are still unable to let go. It’s the correct way, because whenever the mind attaches to states of happiness and suffering, awareness of the attachment is always there. This means that whenever the mind attaches to states of happiness, you don’t praise it or give value to it, and whenever it attaches to states of suffering, you don’t criticise it. This way you can actually observe the mind as it is. Happiness is not right, suffering is not right. There is the understanding that neither of these is the right path. You are aware, awareness of them is sustained, but still you can’t fully abandon them. You are unable to drop them, but you can be mindful of them. With mindfulness established, you don’t give undue value to happiness or suffering. You don’t give importance to either of those two directions which the mind can take, and you hold no doubts about this; you know that following either of those ways is not the right path of practice, so at all times you take this middle way of equanimity as the object of mind. When you practise to the point where the mind goes beyond happiness and suffering, equanimity will necessarily arise as the path to follow, and you have to gradually move down it, little by little – the heart knowing the way to go to be beyond defilements, but, not yet being ready to finally transcend them, it withdraws and continues practising.

Whenever happiness arises and the mind attaches, you have to take that happiness up for contemplation, and whenever it attaches to suffering, you have to take that up for contemplation. Eventually, the mind reaches a stage when it is fully mindful of both happiness and suffering. That’s when it will be able to lay aside the happiness and the suffering, the pleasure and the sadness, and lay aside all that is the world and so become lokavidū(knower of the worlds). Once the mind – ‘one who knows’ – can let go it will settle down at that point. Why does it settle down? Because you have done the practice and followed the path right down to that very spot. You know what you have to do to reach the end of the path, but are still unable to accomplish it. When the mind attaches to either happiness or suffering, you are not deluded by them and strive to dislodge the attachment and dig it out.

This is practising on the level of the yogāvacara, one who is travelling along the path of practice – striving to cut through the defilements, yet not having reached the goal. You focus upon these conditions and the way it is from moment to moment in your own mind. It’s not necessary to be personally interviewed about the state of your mind or do anything special. When there is attachment to either happiness or suffering, there must be the clear and certain understanding that any attachment to either of these states is deluded. It is attachment to the world. It is being stuck in the world. Happiness means attachment to the world, suffering means attachment to the world. This is the way worldly attachment is. What is it that creates or gives rise to the world? The world is created and established through ignorance. It’s because we are not mindful that the mind attaches importance to things, fashioning and creating sankhāra (formations) the whole time.

It is here that the practice becomes really interesting. Wherever there is attachment in the mind, you keep hitting at that point, without letting up. If there is attachment to happiness, you keep pounding at it, not letting the mind get carried away with the mood. If the mind attaches to suffering, you grab hold of that, really getting to grips with it and contemplating it straight away. You are in the process of finishing the job off; the mind doesn’t let a single mind-object slip by without reflecting on it. Nothing can resist the power of your mindfulness and wisdom. Even if the mind is caught in an unwholesome mental state, you know it as unwholesome and the mind is not heedless. It’s like stepping on thorns: of course, you don’t seek to step on thorns, you try to avoid them, but nevertheless sometimes you step on one. When you do step on one, do you feel good about it? You feel aversion when you step on a thorn. Once you know the path of practice, it means you know that which is the world, that which is suffering and that which binds us to the endless cycle of birth and death. Even though you know this, you are unable to stop stepping on those ‘thorns’. The mind still follows various states of happiness and sadness, but doesn’t completely indulge in them. You sustain a continuous effort to destroy any attachment in the mind – to destroy and clear all that which is the world from the mind.

You must practise right in the present moment. Meditate right there; build your pāramī right there. This is the heart of practice, the heart of your effort. You carry on an internal dialogue, discussing and reflecting on the Dhamma within yourself. It’s something that takes place right inside the mind. As worldly attachment is uprooted, mindfulness and wisdom untiringly penetrate inwards, and the ‘one who knows’ sustains awareness with equanimity, mindfulness and clarity, without getting involved with or becoming enslaved to anybody or anything. Not getting involved with things means knowing without clinging – knowing while laying things aside and letting go. You still experience happiness; you still experience suffering; you still experience mind-objects and mental states, but you don’t cling to them.

Once you are seeing things as they are you know the mind as it is and you know mind-objects as they are. You know the mind as separate from mind-objects and mind-objects as separate from the mind. The mind is the mind, mind-objects are mind-objects. Once you know these two phenomena as they are, whenever they come together you will be mindful of them. When the mind experiences mind-objects, mindfulness will be there. Our teacher described the practice of the yogāvacara who is able to sustain such awareness, whether walking, standing, sitting or lying down, as being a continuous cycle. It is sammā patipadā (right practice). You don’t forget yourself or become heedless.

You don’t simply observe the coarser parts of your practice, but also watch the mind internally, on a more refined level. That which is on the outside, you set aside. From here onwards you are just watching the body and the mind, just observing this mind and its objects arising and passing away, and understanding that having arisen they pass away. With passing away there is further arising – birth and death, death and birth; cessation followed by arising, arising followed by cessation. Ultimately, you are simply watching the act of cessation. Khayavayam means degeneration and cessation. Degeneration and cessation are the natural way of the mind and its objects – this is khayavayam. Once the mind is practising and experiencing this, it doesn’t have to go following up on or searching for anything else – it will be keeping abreast of things with mindfulness. Seeing is just seeing. Knowing is just knowing. The mind and mind-objects are just as they are. This is the way things are. The mind isn’t proliferating about or creating anything in addition.

Don’t be confused or vague about the practice. Don’t get caught in doubting. This applies to the practice of sīla just the same. As I mentioned earlier, you have to look at it and contemplate whether it’s right or wrong. Having contemplated it, then leave it there. Don’t doubt about it. Practising samādhi is the same. Keep practising, calming the mind little by little. If you start thinking, it doesn’t matter; if you’re not thinking, it doesn’t matter. The important thing is to gain an understanding of the mind.

Some people want to make the mind peaceful, but don’t know what true peace really is. They don’t know the peaceful mind. There are two kinds of peacefulness – one is the peace that comes through samādhi, the other is the peace that comes through paññā. The mind that is peaceful through samādhi is still deluded. The peace that comes through the practice of samādhi alone is dependent on the mind being separated from mind-objects. When it’s not experiencing any mind-objects, then there is calm, and consequently one attaches to the happiness that comes with that calm. However, whenever there is impingement through the senses, the mind gives in straight away. It’s afraid of mind-objects. It’s afraid of happiness and suffering; afraid of praise and criticism; afraid of forms, sounds, smells and tastes. One who is peaceful through samādhi alone is afraid of everything and doesn’t want to get involved with anybody or anything on the outside. People practising samādhi in this way just want to stay isolated in a cave somewhere, where they can experience the bliss of samādhiwithout having to come out. Wherever there is a peaceful place, they sneak off and hide themselves away. This kind of samādhiinvolves a lot of suffering – they find it difficult to come out of it and be with other people. They don’t want to see forms or hear sounds. They don’t want to experience anything at all! They have to live in some specially preserved quiet place, where no-one will come and disturb them with conversation. They have to have really peaceful surroundings.

This kind of peacefulness can’t do the job. If you have reached the necessary level of calm, then withdraw. The Buddha didn’t teach to practise samādhi with delusion. If you are practising like that, then stop. If the mind has achieved calm, then use it as a basis for contemplation. Contemplate the peace of concentration itself and use it to connect the mind with and reflect upon the different mind-objects which it experiences. Use the calm ofsamādhi to contemplate sights, smells, tastes, tactile sensations and ideas. Use this calm to contemplate the different parts of the body, such as the hair of the head, hair of the body, nails, teeth, skin and so on. Contemplate the three characteristics of aniccam(impermanence), dukkham (suffering) and anattā (not-self). Reflect upon this entire world. When you have contemplated sufficiently, it is all right to reestablish the calm of samādhi. You can re-enter it through sitting meditation and afterwards, with calm re-established, continue with the contemplation. Use the state of calm to train and purify the mind. Use it to challenge the mind. As you gain knowledge, use it to fight the defilements, to train the mind. If you simply enter samādhi and stay there you don’t gain any insight – you are simply making the mind calm and that’s all. However, if you use the calm mind to reflect, beginning with your external experience, this calm will gradually penetrate deeper and deeper inwards, until the mind experiences the most profound peace of all.

The peace which arises through paññā is distinctive, because when the mind withdraws from the state of calm, the presence ofpaññā makes it unafraid of forms, sounds, smells, tastes, tactile sensations and ideas. It means that as soon as there is sense contact the mind is immediately aware of the mind-object. As soon as there is sense contact you lay it aside; as soon as there is sense contact mindfulness is sharp enough to let go right away. This is the peace that comes through paññā.

When you are practising with the mind in this way, the mind becomes considerably more refined than when you are developing samādhi alone. The mind becomes very powerful, and no longer tries to run away. With such energy you become fearless. In the past you were scared to experience anything, but now you know mind-objects as they are and are no longer afraid. You know your own strength of mind and are unafraid. When you see a form, you contemplate it. When you hear a sound, you contemplate it. You become proficient in the contemplation of mind-objects. You are established in the practice with a new boldness, which prevails whatever the conditions. Whether it be sights, sounds or smells, you see them and let go of them as they occur. Whatever it is, you can let go of it all. You clearly see happiness and let it go. You clearly see suffering and let it go. Wherever you see them, you let them go right there. That’s the way! Keep letting them go and casting them aside right there. No mind-objects will be able to maintain a hold over the mind. You leave them there and stay secure in your place of abiding within the mind. As you experience, you cast aside. As you experience, you observe. Having observed, you let go. All mind-objects lose their value and are no longer able to sway you. This is the power of vipassanā (insight meditation). When these characteristics arise within the mind of the practitioner, it is appropriate to change the name of the practice to vipassanā: clear knowing in accordance with the truth. That’s what it’s all about – knowledge in accordance with the truth of the way things are. This is peace at the highest level, the peace of vipassanā. Developing peace through samādhialone is very, very difficult; one is constantly petrified.

So when the mind is at its most calm, what should you do? Train it. Practise with it. Use it to contemplate. Don’t be scared of things. Don’t attach. Developing samādhi so that you can just sit there and attach to blissful mental states isn’t the true purpose of the practice. You must withdraw from it. The Buddha said that you must fight this war, not just hide out in a trench trying to avoid the enemy’s bullets. When it’s time to fight, you really have to come out with guns blazing. Eventually you have to come out of that trench. You can’t stay sleeping there when it’s time to fight. This is the way the practice is. You can’t allow your mind to just hide, cringing in the shadows.

Sīla and samādhi form the foundation of practice and it is essential to develop them before anything else. You must train yourself and investigate according to the monastic form and ways of practice which have been passed down.

Be it as it may, I have described a rough outline of the practice. You as the practitioners must avoid getting caught in doubts. Don’t doubt about the way of practice. When there is happiness, watch the happiness. When there is suffering, watch the suffering. Having established awareness, make the effort to destroy both of them. Let them go. Cast them aside. Know the object of mind and keep letting it go. Whether you want to do sitting or walking meditation it doesn’t matter. If you keep thinking, never mind. The important thing is to sustain moment to moment awareness of the mind. If you are really caught in mental proliferation, then gather it all together, and contemplate it in terms of being one whole, cutting it off right from the start, saying, ‘All these thoughts, ideas and imaginings of mine are simply thought proliferation and nothing more. It’s all aniccamdukkham and anattā. None of it is certain at all.’ Discard it right there.


Footnotes

…samana1
Recluse, monk or holy one – one who has left the home life to pursue the Higher Life.
…ārammana2
Ārammana: mind-objects; the object which is presented to the mind (citta) at any moment. This object is derived from the five senses or direct from the mind (memory, thought, feelings). It is not the external object (in the world), but that object after having been processed by one’s preconceptions and predispositions.
…bhikkhus’3
Bhikkhu: Buddhist monk, alms mendicant.
…Arahants4
Arahant: Worthy one, one who is full enlightened.
5
Venerable: in Thai, ‘Phra‘.
…khandhas6
Khandhas: Groups or aggregates: form (rūpa), feeling (vedanā), perception (saññā), thought formations (sankhārā) and consciousness (viññāna). These groups are the five groups that constitute what we call a person.
7
Magga-phala: Path and fruition: the four transcendent paths – or rather one path and four different levels of refinement – leading to ‘nobility’ (ariya) or the end of suffering, i.e., the insight knowledge which cuts through the fetters (samyojana); and the four corresponding fruitions arising from those paths – refers to the mental state, cutting through defilements, immediately following the attainment of any of these paths.
…pāramī8
Pāramī: refers to the ten spiritual perfections: generosity, moral restraint, renunciation, wisdom, effort, patience, truthfulness, determination, kindness and equanimity.
…upapāramī9
Upapāramī: refers to the same ten spiritual perfections, but practised on a deeper, more intense and profound level (practised to the highest degree, they are called paramattha pāramī)
…jhāna10
Jhāna: Various levels of meditative absorption. The five factors of jhāna are initial and sustained application of mind, rapture, pleasure and equanimity.
…dhātu11
Dhātu: Elements, natural essence. The elementary properties which make up the inner sense of the body and mind: earth (material), water (cohesion), fire (energy) and air (motion), space and consciousness.
…citta12
Gotrabhū citta: Change-of-lineage (state of consciousness preceding jhāna or Path).
Contents: © Wat Nong Pah Pong, 2007 | Last update: March 2008

John Mellencamp – full album- the best of – greatest hits


[youtube https://www.youtube.com/watch?v=CElCy4IqRvM]

John Mellencamp (Seymour, 7 ottobre 1951) è un musicista, cantante e compositore statunitense.

Conosciuto inizialmente con i nomi d’arte di Johnny Cougar, John Cougar e John Cougar Mellencamp, nella sua carriera ha venduto oltre 40 milioni di dischi, è stato nominato a 13 Grammy Awards vincendone uno.

Mellencamp è stato inoltre inserito nella Rock and Roll Hall of Fame il 10 marzo 2008.[2] Le sue più grandi influenze musicali sono state Bob Dylan, Woody Guthrie ed iRolling Stones

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

John J Mellencamp,[1] also known as John Cougar Mellencamp (born October 7, 1951), is an American Rock singer-songwriter, musician, painter and occasional actor known for his catchy, populist brand of heartland rock which emphasizes traditional instrumentation. Mellencamp rose to superstardom in the 1980s while “honing an almost startlingly plainspoken writing style that, starting in 1982, yielded a string of Top 10 singles,”[2] including “Hurts So Good,” “Jack & Diane,” “Crumblin’ Down,” “Pink Houses,” “Lonely Ol’ Night,” “Small Town,” “R.O.C.K. in the U.S.A.,” “Paper in Fire,” and “Cherry Bomb.” He has sold over 40 million albums worldwide and has amassed 22 Top 40 hits in the United States. In addition, he holds the record for the most tracks by a solo artist to hit number-one on the Hot Mainstream Rock Trackschart, with seven, and has been nominated for 13 Grammy Awards, winning one. Mellencamp released his latest album, Plain Spoken, on September 23, 2014 to widespread critical acclaim.

Mellencamp is also one of the founding members of Farm Aid, an organization that began in 1985 with a concert in Champaign, Illinois to raise awareness about the loss of family farms and to raise funds to keep farm families on their land. The Farm Aid concerts have remained an annual event over the past 30 years, and as of 2015 the organization has raised over $45 million to promote a strong and resilient family farm system of agriculture.

Mellencamp was inducted into the Rock and Roll Hall of Fame on March 10, 2008.[3] His biggest musical influences are Bob Dylan, Woody Guthrie, James Brown and The Rolling Stones.[4] Said longtime Rolling Stone contributor Anthony DeCurtis: “Mellencamp has created an important body of work that has earned him both critical regard and an enormous audience. His songs document the joys and struggles of ordinary people seeking to make their way, and he has consistently brought the fresh air of common experience to the typically glamour-addled world of popular music.”[5]

The late Billboard magazine editor-in-chief Timothy White said in 2001: “John Mellencamp is arguably the most important roots rocker of his generation. John has made fiddles, hammer dulcimers, Autoharps and accordions lead rock instruments on a par with electric guitar, bass and drums, and he also brought what he calls ‘a raw Appalachian’ lyrical outlook to his songs. Mellencamp’s best music is rock ‘n roll stripped of all escapism, and it looks directly at the messiness of life as it’s actually lived. In his music, mortality, anxiety, acts of God, questions of romance and brotherhood, and crises of conscience all collide and demand hard decisions……This is rock music that tells the truth on both its composer and the culture he’s observing.

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

The best of Van Morrison



Sir George Ivan “Van” Morrison (Belfast, 31 agosto 1945) è un cantante, polistrumentista e paroliere proveniente dall’Irlanda del Nord; suona diversi strumenti tra i quali chitarra, armonica a bocca, tastiere, sassofono e occasionalmente anche la batteria.

Dopo gli esordi blues rock con i Them, Morrison intraprese una carriera solista in bilico tra la passione giovanile per la musica nera, una forte vena sperimentale (che lo ha portato a sconfinare spesso in territori jazz) e uno stretto legame con la musica tradizionale della sua terra d’origine[1][2]. A rendere unico il suo stile contribuiscono la sua caratteristica vocalità[3] e una intensa poetica che abbraccia musica e parole in modo altamente espressivo.

La rivista Rolling Stone lo classifica quarantaduesimo nella sua lista dei cento migliori artisti di sempre[4] nonché ventiquattresimo in quella dei cento migliori cantanti[5]. Le sue esibizioni dal vivo, al suo meglio, sono state definite come mistiche e trascendenti.

Inoltre due suoi album, Astral Weeks e Moondance, compaiono nella lista dei 500 migliori album di sempre, ancora secondo Rolling Stone [6][7].

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

Sir George Ivan “Van” Morrison, OBE[1] (born 31 August 1945) is a Northern Irish singer-songwriter and musician. Some of his recordings, such as the studio albums Astral Weeks and Moondance and the live album It’s Too Late to Stop Now, are critically acclaimed. He has received six Grammy Awards, the Brit Award for Outstanding Contribution to Music, and has been inducted into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. In 2015 he was knighted for his services to popular music.

Known as “Van the Man” to his fans, Morrison started his professional career when, as a teenager in the late 1950s, he played a variety of instruments including guitar, harmonica, keyboards and saxophone for various Irish showbands covering the popular hits of the day. He rose to prominence in the mid-1960s as the lead singer of the Northern Irish R&B band Them, with whom he recorded the garage band classic “Gloria”. His solo career began under the pop-hit oriented guidance of Bert Berns with the release of the hit single “Brown Eyed Girl” in 1967. After Berns’ death, Warner Bros. Records bought out his contract and allowed him three sessions to record Astral Weeks in 1968.[2] Even though this album would gradually garner high praise, it was initially a poor seller; however, the next one, Moondance, established Morrison as a major artist,[3] and throughout the 1970s he built on his reputation with a series of critically acclaimed albums and live performances. Morrison continues to record and tour, producing albums and live performances that sell well and are generally warmly received, sometimes collaborating with other artists, such as Georgie Fame and the Chieftains. In 2008 he performed Astral Weeks live for the first time since 1968.

Much of Morrison’s music is structured around the conventions of soul music and R&B, such as the popular singles “Brown Eyed Girl”, “Jackie Wilson Said (I’m in Heaven When You Smile)”, “Domino” and “Wild Night”. An equal part of his catalogue consists of lengthy, loosely connected, spiritually inspired musical journeys that show the influence of Celtic tradition, jazz, and stream-of-consciousness narrative, such as Astral Weeks and lesser-known works such as Veedon Fleece and Common One.[4][5] The two strains together are sometimes referred to as “Celtic Soul”

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

Ultravox


[youtube https://youtu.be/hIuOz8vycWc]

Gli Ultravox sono un gruppo di musica new wave formato a Londra nel 1973. All’inizio della loro carriera, il nome del gruppo era Ultravox! (col punto esclamativo finale), per richiamare quello dei tedeschi Neu!, e tale rimase per i primi due album.

La carriera del gruppo viene marcatamente divisa in due periodi, ossia quello dal 1974 al 1979, guidato dal leader John Foxx, e quello dal 1979 al 1988, segnato dal suo sostituto Midge Ure.

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

Ultravox (formerly known as Ultravox!) are a British new wave band, formed in London in 1974 as Tiger Lily. Between 1980–86, they scored seven Top Ten albums and seventeen Top 40 singles in the UK, the most successful of which was their 1981 hit “Vienna”.

The band has been led by two different frontmen who never played together in the band at the same time. From 1974 until 1979, singer John Foxx was frontman and the main driving force behind Ultravox. Foxx left the band to embark on a solo career and, following his departure, with the three remaining members in hiatus, Midge Ure took over as lead singer, guitarist and frontman in 1980 after he and keyboardist Billy Currie worked in the studio project Visage. Ure revitalised the band and steered it to commercial success lasting until the mid-1980s. Ure left the band in 1987 after establishing his own solo career and the group disbanded for a while. A new line-up, led by Currie, was formed in 1992, but achieved little success.

The band’s best-known line-up of Currie, Ure, bassist Chris Cross and drummer Warren Cann reformed in 2008 and performed a series of reunion shows in 2009 and 2010 before releasing a new studio album, Brill!ant, in May 2012. In November 2013, Ultravox performed as special guests on a four date UK arena tour with Simple Minds.

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

Facendosi varco tra i sogni – Making passage between dreams


Facendosi varco tra i sogni

Soffi di vento
su ali già forti
imprimono il segno
di quel che è stato capire
che si è liberi e capaci si esserlo
soltanto se si accetta il limite.

Scogli accarezzati dall’onda
che addolcisce e scalfisce
per rimodellare una forma
dove tutto è caos e non conosce ordine.

Ritmo e stagione, sole ed ombre
per dare senso all’essere in cerca
d’ impressioni ed intuizione
sulla via dell’ascolto profondo
oltre tutte le apparenti parole.

Ed abbraccio del silenzio
che conduce allo specchiarsi
in quel volo senza confine
perchè siano traiettorie impalpabili
di gioia che respira dentro.

Spirito libero che inarchi la soglia
tra il tempo trascorso e consumato
e l’ignoto da comprendere e vivere
ascolta l’attimo e sii essere senza ricerca.

Perchè tutto è adesso senza meta e confronto
tra pieghe di sogno e aliti di nuova speranza
abbandonando illusione ed offrendo vero amore

03.08.2008 Poetyca

Making passage between dreams

Puffs of wind
already high on wings
engrave the sign
to understand what was
that you will be free and able
only if you accept the limit.

Rocks caressed by the wave
that smooths and scratches
to reshape a shape
where everything is chaos and does not know order.

Rhythm and season, sun and shadow
to give meaning to being in search
‘s impressions and intuition
the way of listening deeply
beyond all the apparent words.

And embrace the silence
leading to the mirror
in that flight without border
because trajectories are impalpable
joy that breathes within.

Free spirit that buckle the threshold
between time spent and consumed
and the unknown to understand and live
listen and be the moment be without research.

Why everything is now without a goal and comparison
creases between dream and breath of new hope
away from illusion and offering true love

03.08.2008 Poetyca

Richiamo – Call


Richiamo

Non conosco la ragione
di tutte le cose
ma nel silenzio
percorro ad occhi chiusi
i passi del sogno

Sono momenti sconosciuti,
voci che richiamano e innalzano
come se potessi abbandonare tutto

Non temo, non ricerco nulla,
tutto accade oltre ordinati pensieri
come se sapessi già dove andare

Conosci anche tu la strada?
Non la vedi ma la senti dentro
come impalpabile nuvola

Tastando l’aria annuso la vita
e tu lentamente riappari
mentre la tua voce richiama

05.08.2008 Poetyca

Call

I do not know why
of all things
but in the silence
I walk with eyes closed
steps of the dream

Moments are unknown,
voices that call and raise
as if I could leave everything

I’m not afraid, not seeking anything,
everything happens over sorted thoughts
like you know already where to go

You also know the way?
I do not see but feel inside
as impalpable cloud

Feeling the air sniff life
and you slowly reappear
while your voice calls

05.08.2008 Poetyca

Riflettendo – Vuoto – Emply


La Riflessione

Il Maestro Nam Tuyen afferma:

“La Via
è la mente quotidiana”

Commento:

Se fa freddo, dì: “freddo”.
Se fa caldo, dì: “caldo”.

Maestro Tran Thay Tong

———————–

Osservare è accogliere,
riflettere è non fuggire;
ricamando immagini
che allontano dall’essenza
di tutte le cose,
quel che tu sai raccogliere
è quello che è:

Realtà da comprendere
e da abbracciare
esattamente per quello che è,
nella trasparenza
e chiarezza del tuo essere
presente – qui ed ora –
senza voglia di aggrapparti
ad un prima o a un dopo.

Poetyca

———————–

L’insegnamento

Vuoto

“Come posso dire che sia vuoto questo mondo,
visto che ho di fronte a me, continuamente, gli esseri?”

Non equivocare il termine,
è qui il nocciolo del tuo problema, amico.

Gli esseri esistono, con le loro menti e corpi,
tuttavia queste menti e questi corpi, cambiano continuamente,
in un flusso instabile, sempre mutando
in qualcosa di differente da ciò che erano prima.

Questo è il significato di “vuoto”,
nient’altro.
Vuoto significa, “vuoto di sostanza stabile”,
e non “inesistente”.

Spero di aver chiarito questo insegnamento.

Bhikkhu Samahita

————————

Che verità possiamo stringere nel pugno
se quel che crediamo definitivo
è soggetto al cambiamento?

Ogni cosa muta, non resta incisa
e tu sei dentro questo flusso,
dove tutto è sostanza volatile
e dove la realtà va accolta
senza inutile attaccamento,
per essere liberi dalla sofferenza
che noi stessi ci causiamo.

Poetyca

————————

14.12.2008 Poetyca

🌟🌟🌟

The reflection

Master Nam Tuyen says:

“Street
is the daily mind ”

Comment:

If it’s cold, say “cold”.
If it’s hot, say “hot”.

Master Tran Thay Tong

———————–

To observe is to welcome,
to reflect is not to flee;
by embroidering images
that move away from the essence
of all things,
what you know how to collect
it is what it is:

Reality to understand
and to embrace
exactly for what it is,
in transparency
and clarity of your being
present – here and now –
without wanting to hold on
to a before or after.

Poetyca

———————–

Teaching

Empty

“How can I say that this world is empty,
since I have beings constantly in front of me? ”

Do not misunderstand the term,
here is the crux of your problem, friend.

Beings exist, with their minds and bodies,
however these minds and bodies are constantly changing,
in an unstable flow, always changing
in something different from what they were before.

This is the meaning of “emptiness”,
nothing else.
Empty means, “vacuum of stable substance”,
and not “non-existent”.

I hope I have clarified this teaching.

Bhikkhu Samahita

————————

What truth we can hold in our fists
if what we believe to be definitive
is it subject to change?

Everything changes, does not remain engraved
and you are inside this flow,
where everything is volatile
and where reality is welcomed
without unnecessary attachment,
to be free from suffering
that we cause ourselves.

Poetyca

————————

14.12.2008 Poetyca

La serenità e l’arte -The serenity and art – Hermann Hesse


La serenità e l’arte

“La serenità, è il segreto del bello e la vera e propria sostanza di ogni arte. Il poeta, che col ritmo danzante dei versi esalta la magnificenza e l’orrore della vita, e il musicista che li fa risuonare come pura presenza, sono coloro che portano la luce, che aumentano la gioia, e la chiarità del mondo, anche se prima ci conducono attraverso lagrime e tensioni dolorose. Il poeta che ci delizia coi versi può anche essere triste e solitario, il musicista sognatore e malinconico, ma anche in questo caso la loro opera partecipa della serenità degli dei e delle stelle. Ciò che essi ci danno, non è più la loro tenebra, la loro sofferenza o angoscia, ma è una goccia di luce pura, di eterna serenità. “

Herman Hesse- Il gioco delle perle di vetro

Ovidio affermava ” Gutta cavat lapidem” – La goccia scava la roccia.

Immaginiamo se questa goccia fosse Luce. Spesso il nostro cuore si inaridisce di fronte al dolore, alle pene della vita e cosa sarebbe se non incontrassimo quella piccola goccia che, con costanza e con l’umiltà dell’acqua non fosse anche nutrimento? Il muro della diffidenza, nato dal dolore, si scaverebbe e la goccia di luce avrebbe spazio per far dono di sè. Così è per l’artista che attraverso il proprio passaggio dalle tenebre alla luce, dal timore alla speranza, impara a dissetare i cuori in ricerca di presenza attraverso la manifestazione e la condivisione della propria Opera nata spesso come travaglio interiore.

02.01.2008 Poetyca

The serenity and art

“Serenity, is the secret of beauty and true essence of all art. The poet, dancing with the rhythm of the verses that enhances the grandeur and horror of life, and the musician that makes them sound like pure presence, are those who carry the light, that increase the joy, and clarity of the world, but first take us through tears and painful tensions. The poet who delights us with verses can also be sad and lonely, melancholy dreamer and musician, but also In this case, their work shares the serenity of the gods and the stars. What they give us, is no longer their darkness, their suffering or distress, but it’s a drop of pure light, of eternal peace. “

-Herman Hesse The Glass Bead Game

Ovid said “Gutta cavat lapidem” – The drop excavates the rock.

Imagine if this drop was light. Often our hearts are withering in the face of pain, the sufferings of life and what it would be if we meet that little drop that, with perseverance and humility of the water was not even food? The wall of distrust, born of pain, you dig and the drop of light would make room for the gift of self. So is the artist who through their passage from darkness to light, from fear to hope, learn to quench the thirst of hearts in search of presence through the event and sharing their work often born as internal turmoil.

02.01.2008 Poetyca

Qualità del pensiero – Quality of thought – Des boo ngoh


La Riflessione
Quando apprezziamo profondamente ogni istante,
l’istante diventa eterno.
Nella via dello Zen,
il quotidiano, diventa la nostra preghiera.
Harvey Sodaiho Roshi
————–
Liberi da vincoli:
ansie legate al passato,
ad aspettative verso il futuro;
diamo respiro a quest’istante,
con la consapevolezza
del suo irripetibile valore.
Non ha senso alcuno il tempo
quanto espandiamo l’ascolto
oltre il confine di quanto
abbiamo permesso ci limiti.
Poetyca
————–
L’insegnamento
Qualità del pensiero
La qualità della vostra vita,
semplicemente segue,
la qualità del vostro pensiero.
Pensateci.
Des boo ngoh
————-
Saper dare senso vivo
al pensiero e alla parola
è disegnare il nostro essere
oltre le paure.
Ogni paura è solo apparenza,
in noi la capacità di vedere
con chiarezza e di dare linfa
al pensiero costruttivo.
Poetyca
————-
11.07.2008 Poetyca
Reflecting …
Reflection
When we deeply appreciate every moment,
the moment becomes eternal.
In the way of Zen,
the everyday becomes our prayer.
Harvey Sodaiho Roshi
————–
Free from constraints:
anxieties related to the past,
expectations towards the future;
we breath in this moment,
with the knowledge
of its unique value.
It makes no sense any time
As we expand the listening
over the border of what
have allowed us limits.
Poetyca
————–
The teaching
Quality of thought
The quality of your life,
simply follows,
the quality of your thinking.
Think about it.
Des boo ngoh
————-
Knowing how to make sense of living
thought and word
is to draw our being
over the fears.
Every fear is only an appearance,
in us the ability to see
with clarity and give sap
to constructive thought.
Poetyca
————-
11.07.2008 Poetyca

Un abbraccio al mondo – An embrace to world


Un abbraccio al mondo

In tutti noi una risorsa,
la fonte ricca di beni:

Cuore forte nell’amorevolezza
senza giudizio alcuno.

Fermo esempio di equidistanza,
dove non si sceglie ma si esperisce
la compassione per tutti gli esseri.

A volte è il silenzioso rumore
di una lacrima che solca il viso,
solo perchè le braccia sono corte
per un abbraccio al mondo.

25.03.2009 Poetyca

 

An embrace to world

In all of us a resource,
the rich source of goods:

Heart strong in love
without any trial.

firm example of equidistance,
do not choose where it carries
compassion for all beings.

Sometimes it’s the quiet noise
a tear that solca face,
just because your arms are short
for a hug in the world.

25.03.2009 Poetyca


Quando apriamo gli occhi alla realtà, al suo signiificato più profondo, siamo capaci di accogliere ma anche di dare.

Nel dialogo e nella presenza incondizionata è l’opportunità di offrirsi e di accogliere quanto si manifesti negli altri.


In richiamo

Sospeso in un solo respiro
è quel senso di evanescenza,
dove tutto è richiamo,
indicazione di un meraviglioso attimo
che vissuto – qui ed ora – ripete
l’armonia di gesti e di ricerca viva.

14.08.2008 Poetyca

In tutti noi una traccia sottile della quale cogliere che il dualismo non è Amore e non si sposa con la negazione di quella scintilla meravigliosa
che spinge verso gli altri con gentilezza e compassione perchè intersiamo e non potremmo pensare che le risorse che riusciamo a maturare attraverso il nostro percorso interiore, la capacità di superare nodi e tensioni restino come un ” bottino” del quale conservare solo per noi stessi il merito e la sostanza.

Ogni cosa che siamo capaci di essere, dopo aver aperto la strada alla consapevolezza è un dono ricevuto, sempre per causa di altri ( anche e sopratutto in situazioni problematiche) e come altri ci hannno permesso di vincere una battaglia con noi stessi, attaverso il canovaccio della vita, così anche noi nel nostro essere in ricerca possiamo essere causa per altri di chiarificazione e maturazione. Non è la rabbia o l’attaccamento, la confusione e le illusioni a farci da viatico ma l’apertura amorevole verso noi stessi e verso gli altri. Una delle immagini fondamentali che vovremmo avere presente è che coloro che ci appaiono come ” nemici ” o ostili, sono specchio di una parte di noi che va attraversata e risolta, solo con pazienza ed amore possiamo apprendere cosa queste persone ci stiano indicando con il loro tormento e la loro inquietudine e possiamo adoperarci per essere attenti a non dare ” risposta” con il medesimo atteggiamento. Solo l’amore scaccia le ombre.

Un abbraccio dal cuore

Poetyca

When we open our eyes to reality, it is a deeper way
we can accept but also to give.

In dialogue and unconditional presence is the opportunity to offer and
to accept as it occurs in others.

In reference

Suspended in one breath
is that sense of evanescence,
where everything is decoy,
indication of a wonderful second
who lived – here and now – repeat
the harmony of gestures and research alive.

14.08.2008 Poetyca

In all of us a thin track which does not grasp the duality
Love is not married and the negation of that wonderful spark
pushing towards others with kindness and compassion because cross
and we could not believe that the resources we can to mature through
our path interior nodes and the ability to overcome tensions
remain as a “booty” of which only keep for ourselves the
merit and substance.

Everything that we can be, having pioneered
awareness is a gift, again because of other (and also
especially in problem situations) and how others will permit hannno
to win a battle with ourselves, the canvas of attaverso
life, we too in our research can be cause
for more clarification and maturation. It is not anger or
attachment, confusion and delusions to be our food for the journey but
opening loving towards ourselves and towards others. One of
Images fundamental vovremmo have in mind is that those who
appear as enemies or hostile, are a mirror of us who
goes through and resolved, only with patience and love we can learn
What these people are giving us with their anguish and their
concern and we strive to be careful not to give ”
response “with the same attitude. Only love dispels the shadows.

A hug from the heart
Poetyca