Conoscilo, Colui che è al di là dell’intelligenza;
e che la sua pace ti doni la pace.
Sii un guerriero e uccidi il desiderio,
questo potente nemico dell’anima.
Bhagavad Gita, III, 43
Know him, the One who is beyond intelligence;
and that his peace will give you peace.
Be a warrior and kill desire,
this powerful enemy of the soul.
Bhagavad Gita, III, 43
La vita non è un viaggio.
Non è una meta.
E’ un processo.
Arrivate passo per passo.
E se ogni passo è meraviglioso,
se ogni passo è magico,
lo sarà anche la vita.
E non sarete mai di quelli
che arrivano in punto di morte
senza aver vissuto.
Perchè non vi sarete mai
lasciati sfuggire nulla.
Non guardate al di sopra
delle spalle degli altri.
Guardateli negli occhi.
Non parlate ai vostri figli.
Prendete i loro visi tra le man
i e parlate con loro.
Non fate l’amore con un corpo,
fate l’amore con una persona.
E fatelo ora. Perchè questo momento
non durerà in eterno.
Sparirà in fretta e non tornerà mai più.
Tanti di noi passano la vita
a piangere sui momenti passati.
Troppo tardi! Ma c’è un milione di momenti
che devono ancora venire.
Osho Rajneesh Chandra Mohan
Life is not a journey.
It is not a goal.
It is a process.
Arrive step by step.
And if every step is wonderful,
if each step is magical,
it is also life.
And you’ll never be those
arriving at the point of death
without having lived.
Why there will never be
Do not look beyond
the shoulders of others.
Look at them in the eye.
Do not talk to your children.
Take their faces between the man
and i talk to them.
Do not make love to a body,
make love with someone.
And do it now. Why now
will not last forever.
Disappear quickly and will never return.
Many of us spend our lives
to cry on past moments.
Too late! But there’s a million times
yet to come.
Osho Rajneesh Chandra Mohan
Caleidoscopio di colori
in mille momenti
con diversi volti
in palpiti latenti
pronti a convivere
in tanti framenti
Occhi in osservazione
verità e sogni
che porta in giro
ogni petalo che freme
e furia del vento
Caleidoscopio di colori
in mille momenti
con diversi volti
in palpiti latenti
pronti a convivere
in tanti framenti
Occhi in osservazione
verità e sogni
che porta in giro
ogni petalo che freme
e furia del vento
Kaleidoscope of colors
a thousand times
with different faces
Research of emotions
latent in beating
ready to live
in many framenti
Eyes in the observation
truth and dreams
that leads around
each petal that flutters
and fury of the wind
Le nostre più grandi potenzialità sono spesso distrutte dal desiderio di migliorarci.
La fine del bruco è la nascita della farfalla; la scomparsa del bocciolo è la nascita della rosa;
la morte o la distruzione del seme sono il preludio alla nascita del grano.
È durante la notte, nelle ore più oscure, quelle che precedono l’alba,
che le piante crescono meglio e più velocemente rispetto a qualsiasi altro momento della giornata.
William G. Jordan
Our greatest potential is often destroyed by the desire to improve.
The end of the caterpillar is the birth of the butterfly; the disappearance of the bud is the birth of the rose;
the death or destruction of the seed are the prelude to the birth of the grain.
It is during the night, in the darkest hours, the ones before dawn,
that plants grow better and faster than any other time of day.
William G. Jordan
Danza di stelle
E’ un muto sospiro
un muovere di fiamma
a prendere vita
tra centinaia di luci
nella notte muta
rincorre il respiro
come fatua scintilla
dei desideri da realizzare
Dancing with stars
It is a silent sigh
a moving flame
to take life
in the heart
among hundreds of lights
in the silent night
turn it on
as fatuous spark
wish to achieve
“Voi avete la forza di danneggiarvi, o farvi del bene. Se non
stabilite di essere felici nessuno può farvi felici. Non biasimate Dio
per ciò! E se voi stabilite di essere felici, nessun altro può
rendervi infelici…Siamo noi che facciamo la vita quello che è.
“You have the power to hurt you, or do you good. If
established to be happy no one can make you happy. Do not blame God
for that! And if you set out to be happy, no one else can
make you unhappy … We are the ones we make life what it is.
“Come definire l’essere umano? In lui, la natura inferiore e la
natura superiore sono così inestricabilmente mescolate, che è
impossibile dire dove finisca l’una e dove incominci l’altra.
La Divinità abita in tutti gli esseri, anche nei meno evoluti;
la differenza sta nella coscienza. Dio è presente allo stesso
modo e altrettanto pienamente tanto nelle persone più rozze e
più amorali, che in un Maestro spirituale; ma dal momento che le
persone rozze e amorali non hanno coscienza del fatto che la
Divinità abiti in loro, Le impediscono di manifestarsi. Così,
ci sono esseri e luoghi in cui la presenza divina non Si
manifesta, poiché questi si sono chiusi alla Divinità, non
Dio esiste in noi e vuole manifestarsi in tutta la Sua bellezza,
la Sua potenza, la Sua luce e il Suo amore. È quindi compito
nostro prendere coscienza di questa presenza e lavorare per farla
vivere ogni giorno più intensamente in noi.”
Omraam Mikhaël Aïvanhov
God – equally present in all beings
“How can we define human beings? The lower and higher natures are so inextricably bound in them, it is impossible to say where the one finishes and the other begins. The Divinity dwells in all beings, even the least evolved; the difference lies in their awareness. God is present in the coarsest and most amoral people in the same way and just as fully as in a spiritual Master, but because the coarse, amoral people are not aware that the Divinity is living in them, they prevent it from manifesting. And so, in certain beings and places the divine presence does not manifest, because they are closed to it and do not accept it.
Omraam Mikhael Aivanhov
La vita spirituale procede direttamente mediante un cambiamento di coscienza un cambiamento dalla coscienza ordinaria, ignorante e separata dal suo vero sé e da Dio, a una coscienza più grande in cui si trova il proprio vero essere e si viene prima in diretto e vivente contatto con il Divino per poi unirsi a Lui.
Per il ricercatore spirituale questo cambiamento di coscienza è l’unico oggetto della sua ricerca e niente altro ha importanza.
Sri Aurobindo -Lettere sullo Yoga- Vol II-Parte -Capitolo VII
The spiritual life proceeds directly through a change in consciousness a change from the ordinary consciousness, ignorant and separated from her true self and God, to a greater consciousness in which you find your true self and he is the first in a direct and living contact with the Divine and then join Him
For the spiritual seeker, this shift in consciousness is the sole object of his quest and nothing else matters.
Sri Aurobindo Letters on Yoga-Vol-II Part-Chapter VII
Quel che fai a te non è solo per te ,
lo offri ad altri .
Quel che fai ad altri ,
è quanto offri a te stesso .
Chi sorriderebbe se dentro stesse male ?
Anche sull’orlo del baratro si è capaci
di cogliere il precipizio…Non è gettandosi
dentro che si evita .
Ad ogni azione corrisponde una reazione ;
Cosa raccoglierai per te stesso ?
L’indignazione non è rabbia senza controllo :
se sai osservare e dirigere in forma costruttiva
diventa reazione che possa condurre
a finalità che sappiano risvegliare l’essere costruttivi .
Meglio scavare per nascondere la rabbia
che ad un nuovo alito di vento si svela
o farla parlare restando in ascolto ?
Cosa saprà indicare se vorresti condurla
verso il retto sentiero ?
Cosa incide dentro se ci si indigna per la sorte
di chi è violato con ingiustizia ?
La consapevolezza che ci sia sofferenza .
Germoglierebbe un sorriso dove hanno aggredito il terreno?
Quel che fanno ad altri ,
lo ricevi anche tu .
Quel che fanno a te ,
lo ricevono anche altri .
I n t e r c o n n e s s i o n e :
in questo la consapevolezza.
What you do is not just for you
offered it to others.
What do others,
is what you give to yourself.
Who within the same smile, if bad?
Even on the edge you are able
to grasp the abyss … It is not throwing
in that it avoids.
For every action there is a reaction;
Do you collect for yourself?
The outrage is not rage out of control:
If you can observe and manage in mounting
becomes reactions which could lead
purposes that are able to arouse be constructive.
Better dig to hide the anger
that a new breeze is revealed
or get her to talk to listen?
What will indicate whether you want to lead
towards the right path?
What impact in if you are indignant about the fate
who is violated by injustice?
The awareness that there is suffering.
Germinate a smile where they attacked the ground?
What they do to others,
receive it too.
What are you,
receiving the other.
I n t e r c o n n e s s i o n e:
Dido Florian Cloud De Bounevialle O’Malley Armstrong (Londra, 25 dicembre 1971) è una cantante britannica, nota semplicemente come Dido.
Dido nasce al St. Mary Abbots Hospital a Kensington, Londra, dalla madre Clare Collins, poetessa, e dal padre William O’Malley Armstrong, editore e manager di origine irlandese. Cresciuta studiando e ascoltando musica classica, a sei anni inizia a frequentare la London Guildhall School Of Music, dove studia pianoforte e violino. Grazie anche all’influenza del fratello Rowland Constantine (detto Rollo), futuro leader del gruppo pop Faithless, entra in contatto con i generi musicali più svariati; comincia quindi a fare esperienza come cantante in varie band, prima di entrare nei Faithless nel ruolo di seconda vocalist. Con il gruppo parteciperà alla registrazione di Reverence (1996) e di Sunday 8pm (1998).
Nel 1995 Dido comincia a scrivere anche materiale proprio traendone varie demo, che, riunite in una raccolta intitolata Odds & Ends pubblicata su cd, catturano l’attenzione dell’Arista Records, portando alla firma di un contratto con Dido negli USA. Delle canzoni incluse in Odds & Ends, Take my hand è stata inclusa come bonus track in tutte le edizioni di No Angel, Sweet eyed baby è stata remixata e reintitolata Don’t think of me, mentre Worthless e Me sono state incluse solo nell’edizione giapponese.
Dido Florian Cloud de Bounevialle O’Malley Armstrong, known as Dido (/ˈdaɪdoʊ/, born 25 December 1971), is a British singer and songwriter. Dido attained international success with her debut album No Angel (1999). It sold over 21 million copies worldwide, and won several awards, including the MTV Europe Music Award for Best New Act, two NRJ Awards for Best New Act and Best Album, and two Brit Awards for Best British Female and Best Album. Her next album, Life for Rent (2003), continued her success with the hit singles “White Flag” and “Life for Rent”.
Dido’s first two albums are among the best-selling albums in UK Chart history, and both are in the top 10 best-selling albums of the 2000s in the UK. Her third studio album, Safe Trip Home (2008), received critical acclaim but failed to duplicate the commercial success of her previous efforts. She was nominated for an Academy Award for the song “If I Rise”. Dido was ranked No. 98 on the Billboard chart of the top Billboard 200 artists of the 2000s (2000–2009) based on the success of her albums in the first decade of the 21st century. Dido made a comeback in 2013, releasing her fourth studio album Girl Who Got Away, which reached the Top 5 in the United Kingdom.
Il suo stile, con il personalissimo modo di suonare la chitarra, fonde generi come pop, folk, rock, reggae e jazz. Le liriche sono ispirate dalla sua visione umanistica e metafisica della vita vicina all’etica cristiana.
Bruce Douglas Cockburn OC (/ˈkoʊbərn/; born May 27, 1945) is a Canadian guitarist and singer-songwriter whose career spans over 40 years. His song styles range from folk to jazz-influenced rock and his lyrics cover a broad range of topics that reveal a passion for human rights, politics and spirituality.
In 2014, he released his memoirs, Rumours of Glory: A Memoir.
Cockburn was born in 1945 in Ottawa, Ontario, Canada, and spent some of his early years on a farm outside Pembroke, Ontario. He has stated in interviews that his first guitar was one he found around 1959 in his grandmother’s attic, which he adorned with golden stars and used to play along to radio hits. Cockburn attended Nepean High School, where his 1964 yearbook photo states his desire “to become a musician”.He attended Berklee School of Music in Boston for three semesters in the mid-1960s. In 1966 he joined an Ottawa band called The Children, which lasted for about a year. In the spring of 1967 he joined the final lineup of The Esquires. He moved to Toronto that summer to form The Flying Circus with former Bobby Kris & The Imperials members Marty Fisher and Gordon MacBain and ex-Tripp member Neil Lillie. The group recorded some material in late 1967 (which remains unreleased) before changing its name to Olivus in the spring of 1968, by which time Lillie (who changed his name to Neil Merryweather) had been replaced by Dennis Pendrith from Livingstone’s Journey. Olivus opened for The Jimi Hendrix Experience and Cream in April 1968. That summer Cockburn broke up the band with the intention of going solo, but ended up in the band 3’s a Crowd with David Wiffen, Colleen Peterson, and Richard Patterson, who had been a co-member of The Children. Cockburn left 3’s a Crowd in the spring of 1969 to pursue a solo career.
Cockburn’s first solo appearance was at the Mariposa Folk Festival in 1967, and in 1969 he was a headliner. In 1970 he released his self-titled, solo album. Cockburn’s guitar work and songwriting won him an enthusiastic following. His early work featured rural and nautical imagery and Biblical metaphors. Raised as an agnostic, early in his career he became a Christian. Many of his albums from the 1970s refer to Christianity, which in turn informs his concerns for human rights and environmentalism. His references to Christianity include the Grail imagery of 20th-century Christian poet Charles Williams and the ideas of theologian Harvey Cox.
While Cockburn had been popular in Canada for years, he did not have a big impact in the United States until 1979, with the release of the album Dancing in the Dragon’s Jaws. “Wondering Where the Lions Are“, the first single from that album, reached No. 21 on the Billboard Hot 100 in the US in June 1980, and earned Cockburn an appearance on NBC‘s hit TV show Saturday Night Live.
Cockburn was married from 1969 to 1980 and has a daughter from that marriage. He wrote the song “Little Seahorse”, released on In the Falling Dark, in late 1975 about the time when his daughter wasin utero.
Through the 1980s Cockburn’s songwriting became increasingly urban, global and political as he became more involved with progressive causes. His political concerns were first hinted at on the albums: Humans,Inner City Front and The Trouble with Normal. They became more evident in 1984, with his second US radio hit, “If I Had a Rocket Launcher” (No. 88 in the US) from the Stealing Fire album. He had written the song a year earlier, after visiting Guatemalan refugee camps in Mexico that were attacked by Guatemalan military helicopters. His political activism continues to the present. Cockburn has travelled to countries such as Mozambique and Iraq, played benefit concerts, and written songs on a variety of subjects ranging from the International Monetary Fund to land mines. His internationalist bent is reflected in the many world musicinfluences in his music, including reggae and Latin music.
In 1991 Intrepid Records released Kick at the Darkness, a tribute album to Cockburn whose title comes from a phrase in his song “Lovers in a Dangerous Time“. It features the Barenaked Ladies‘ cover of that song, which became their first Top 40 hit and an element in their early success. This lyric was also referenced by U2 in their song “God Part II” from their album Rattle and Hum.
In the early 1990s, Cockburn teamed with T-Bone Burnett for two albums, Nothing but a Burning Light and Dart to the Heart. The latter included a song, “Closer to the Light”, inspired by the death of songwriter Mark Heard, a close friend of Cockburn and Burnett. Cockburn frequently refers to Heard as his favourite songwriter and he was one of many artists who paid tribute to Heard on an album and video titled Strong Hand of Love.
In 1998 Cockburn travelled with filmmaker Robert Lang to Mali, West Africa, where he jammed with Grammy Award-winning blues musician Ali Farka Toure and kora master Toumani Diabate. The month-long journey was documented in the film River of Sand, which won the Regard Canadien award for best documentary at the Vues d’Afrique Film Festival in Montreal. It was also invited for competition at the International Festival of Environmental Films in Paris.
Some of Cockburn’s previously published material had been collected in several albums: Resume, Mummy Dust, and Waiting for a Miracle. His first greatest hits collection was Anything Anytime Anywhere: Singles 1979–2002, released in 2002.
In January 2003 Cockburn finished recording his 21st album, You’ve Never Seen Everything, which features contributions from Emmylou Harris, Jackson Browne, Sam Phillips, Sarah Harmer, Hugh Marsh, Jonell Mosser, Larry Taylor and Steven Hodges. (Taylor and Hodges, formerly of Canned Heat who performed at Monterey and Woodstock in the 1960s, may be known best for their work with Tom Waits).
Cockburn performed a set at the Live 8 concert in Barrie, Ontario, on July 2, 2005. Speechless, an instrumental compilation of new and previously released material, was released on October 24, 2005. His 22nd album, Life Short Call Now, was released on July 18, 2006.
Canadian senator and retired general Roméo Dallaire, who is active in humanitarian fundraising and promoting awareness, appeared on stage at the University of Victoria with Cockburn. The October 4, 2008, concert was held to aid the plight of child soldiers.
In 2009 Cockburn travelled to Afghanistan to visit his brother, Capt. John Cockburn, and to play a concert for Canadian troops. He performed his 1984 song “If I Had a Rocket Launcher” and was temporarily awarded an actual rocket launcher by the military. Cockburn has stated that, while unsure of the original Invasion of Afghanistan, he supported Canada’s role there.
Cockburn released his studio album Small Source of Comfort in 2011. “Lois on the Autobahn”, a cheerful and experiential instrumental recalling “Rouler sa bosse” from Salt, Sun and Time is a tribute to Cockburn’s mother, Lois, who succumbed to cancer in 2010.
Cockburn married his longtime girlfriend M.J. Hannett shortly after the birth of his second daughter, Iona (b. November 2011) in 2011. As of 2014, the family lives in the San Francisco area, where Cockburn is writing his memoirs up to 2004.
A documentary film, Bruce Cockburn Pacing the Cage, was released in 2013 on television and a brief theatrical showing; directed by Joel Goldberg, gave a rare look into Cockburn’s music, life and politics
La teoria dei samskara è un corollario della legge del karma.
Durante il ciclo di morti e rinascite (samsara) l’anima trattiene con sé il corpo sottile costituito da prana, manas, dal karma e da ahankara. Il karma, più precisamente il karmashaya, contiene le impressioni di esperienze accumulate nelle vite precedenti (samskara) che determinano l’orientamento dell’essere incarnato (jiva) nella vita presente.
Tali impressioni una volta pervenute attraverso gli organi dei sensi , penetrano nella mente esteriore (manas), nella mente intermedia (buddhi), per poi passare alla mente profonda (citta), inaccessibile all’io cosciente.
Qui creano “solchi” nella psiche, i samskara appunto, i quali sono tracce di memoria, residui latenti, all’origine delle tendenze e degli automatismi mentali, estremamente difficili da estirpare proprio perché radicati a livello inconscio.
Sono gli aggregati psichici o samskara che generano le tendenze caratteriali (vasana) e costituiscono la base sommersa della personalità, quella che caratterizzerà il soggetto anche nella vita successiva.
Vasana è la risultante delle forze interagenti tra i vari samskara, è la traccia psichica che si esprime attraverso preferenze, gusti, propensioni, attitudini e modalità di comportamento i quali provano che una persona non giunge dal nulla, ma si porta dietro un cospicuo bagaglio esperienziale accumulato di vita in vita.
L’unica forza opponibile a quella potentemente condizionante e altrimenti invariabile della tendenza è la forza di volontà, con la quale è possibile arginare e riorientare le vasana distruttive e rafforzare i comportamenti positivi già acquisiti e propedeutici alla evoluzione psichica e spirituale dell’essere umano.
The theory of samskaras is a corollary of the law of karma.
During the cycle of death and rebirth (samsara), the soul holds with it the subtle body consists of prana, manas, and the karma ahankara. Karma, more precisely karmashaya, contains the impressions of experience accumulated in previous lives (samskaras) that determine the orientation of being incarnate (jiva) in the present life.
These impressions once received through the sense organs, penetrate the outer mind (manas), intermediate in the mind (buddhi), before moving to the deep mind (citta), inaccessible to the conscious ego.
You create “grooves” in the psyche, just samskaras, which are memory traces, residual latent source of trends and mental automatism, which is extremely difficult to eradicate because ingrained at an unconscious level.
Samskaras are the psychic aggregates or trends that generate character (vasanas) and form the basis of the submerged personality that characterize the subject well in later life.
Vasana is the resultant of the forces interacting between the various samskaras, is the trace of the psyche that is expressed through preferences, tastes, inclinations, attitudes and modes of behavior which prove that a person does not come from nothing, but he carries a large bag experiential accumulated from life to life.
The only force powerful conditioning and enforceable against the otherwise invariable tendency is the strength of will, with which it is possible to contain and redirect the destructive vasanas and reinforce positive behavior already acquired and in preparation to the evolution of the human psychic and spiritual.
” Se lasci cadere l’Illusione che è l’io ad agire, e credi invece che il vero io è il divino, arriverai allora alla pienezza, ti accorgerai che il Tutto è in te e tu sei nel Tutto.”
Essere nel Tutto è valido per ogni cosa, per ogni essere vivente, allora non esiste la separazione siamo tutti la medesima cosa, con la medesima dignità: gocce di un oceano d’Amore, eppure la mente atterrita, che si crede separata fa cadere un velo e reagisce e rendendo difficle la possibilità di comprendere la Verità.
Questi testi per me sono paragonabili ad un libro di psicologia dove si vede il comportamento umano e si accende la fiaccola della compassione verso coloro che non sanno, verso la loro mente spaventata dal buio della propria ignoranza.
“If you drop the illusion that the self is to act, and believe instead that the true self is the divine, then you will come to fulfillment, you’ll find that everything is in you and you are in the All.”
Everything is good to be in everything, for every living being, then there is the separation we are all the same thing with the same dignity: drops of an ocean of love, yet terrified the mind, which is believed to separate drops a veil and reacts difficle and making the possibility of understanding the Truth.
These texts to me are like a book where you see the psychology of human behavior, and lights the torch of compassion towards those who do not know, to their mind, frightened by the darkness of ignorance.
David Sylvian, al secolo David Alan Batt (Beckenham, 23 febbraio 1958), è un cantante, musicista compositore britannico, noto per essere stato frontman della bandJapan e per la sua carriera solista, improntata ad una musica sofisticata e sperimentale.
Dal 1978 al 1983 è stato la voce dei Japan, band londinese nata dal Glam rock/New wave che negli ultimi album, da Gentlemen Take Polaroids fino a Tin Drum, si cimenterà in sonorità ispirate alla musica giapponese, grazie anche alla collaborazione di Ryūichi Sakamoto.
Ha poi intrapreso una carriera da solista tra musica elettronica, rock progressivo e ambient music. Ha collaborato con Sakamoto, Robert Fripp (negli album The First Daye Damage: live), Bill Nelson, Holger Czukay (con il quale ha inciso Flux And Mutability e Plight And Premoniton), Christian Fennesz, Mark Isham, Jon Hassell, David Torn,Chris Vrenna, Blonde Redhead, Virginia Astley, Arve Henriksen, Joan Wasser e molti altri.
Tra i suoi lavori si annoverano gli album Brilliant Trees, Gone to Earth, Secrets of the Beehive (considerato da molti la sua pietra miliare), The First Day (in collaborazione con Robert Fripp), Dead Bees on a Cake, Blemish e Snow Borne Sorrow con il progetto Nine Horses. La sua musica viene definita “intimista”, “minimalista” o “rock postmoderno”.
Ha scritto una canzone dal titolo For the Love of Life per l’adattamento in anime del manga Monster di Naoki Urasawa, di cui diviene la sigla di chiusura per la prima metà della serie.
Per Manafon del 2009 David Sylvian ha collaborato con Evan Parker, John Tilbury, Keith Rowe, Christian Fennesz, Yoshihide Otomo e altri.
David Sylvian (born David Alan Batt, 23 February 1958) is an English singer-songwriter and musician who came to prominence in the late 1970s as the lead vocalist and main songwriter in the group Japan. His subsequent solo work is described by AllMusic critic Jason Ankeny as “a far-ranging and esoteric career that encompassed not only solo projects but also a series of fascinating collaborative efforts.” Sylvian’s solo work has been influenced by a variety of musical styles and genres, includingjazz, avant-garde, ambient, electronic, and progressive rock.
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.
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.
« Il pregare è nella religione ciò che il pensiero è nella filosofia. Il senso religioso prega come l’organo del pensiero pensa »
La preghiera è una delle pratiche comuni a tutte le religioni. Essa consiste nel rivolgersi alla dimensione del sacro con la parola o con il pensiero; gli scopi della preghiera possono essere molteplici: invocare, chiedere un aiuto, lodare, ringraziare, santificare, o esprimere devozione o abbandono. La preghiera è solitamente considerata come il momento in cui l’uomo ‘parla’ al sacro, mentre la fase inversa è la meditazione, durante la quale è il sacro che ‘parla’ all’uomo.
La preghiera può essere personale, oppure liturgica; solitamente questa seconda forma si ritrova come preghiera scritta (o comunque tramandata in qualche modo). Una delle forme di preghiera più diffuse è il canto devozionale.
Secondo la dottrina cattolica, quando l’uomo prega si eleva a Dio in modo cosciente. Il “tappeto di preghiera” è un piccolo tappeto che i musulmani usano per inginocchiarsi durante le preghiere giornaliere.
Forme di preghiera pubblica
Nell’ebraismo sono previsti per gli uomini tre preghiere nei giorni feriali, in ricordo dei sacrifici di animali e vegetali che venivano praticati nel Santuario: l’Arvith, Shachrith e Minchah. Le preghiere sono quattro il sabato e altri giorni particolari (5 volte per Yom Kippur). L’ordine delle preghiere si trova nel Siddur, il tradizionale libro delle preghiere ebraico. Sebbene la preghiera individuale sia valida, pregare con un minyan (numero minimo di dieci maschi adulti) è considerato ideale. Molte sinagoghe hanno un hazzan, cioè un cantore che guida la preghiera della comunità.
Nel Cristianesimo la forma classica e più antica di preghiera pubblica sono le ore canoniche, cioè momenti fissi durante la giornata in cui vengono recitati (o cantati) dei salmi più altre preghiere, dalla bibbia o composte dalle Chiese, oltre a inni e intercessioni. Di origine antichissima (la struttura è stata ereditata dalla preghiera ebraica sinagogale e del Tempio di Gerusalemme), le ore canoniche ebbero particolare rilievo nelle comunità monastiche come ufficio corale.
Nell’Islam la preghiera canonica è chiamata ṣalāt, prescritta 5 volte al giorno, in forma singola o collettiva, anche se sono previste e consigliate altre preghiere volontarie.
Forme di preghiera privata
Nelle devozioni private esistono vari tipi di preghiere, che hanno un unico fine: elevare l’anima a Dio. Elevare l’anima a Dio è infatti la definizione ufficiale della preghiera così come riportato dal Catechismo della Chiesa Cattolica.
In realtà, come dice la Bibbia (Sap 1,7 e At 17,28), noi già viviamo ed esistiamo dentro Dio; come pure affermano alcune tradizioni religiose antiche dei popoli asiatici e americani. Essendo però Dio di natura trascendente e spirituale, la sua presenza non appare sempre immediatamente percepibile ed evidente. Ecco perché è necessario elevare l’anima a Dio, cioè compiere un atto di volontà (la volontà è una delle tre potenze dell’anima insieme alla memoria e all’intelletto) che ci rende più attenti, più sensibili, più partecipi di questa presenza che è sempre e ovunque. I modi di muovere la volontà e dunque l’anima a questa consapevolezza e a questa comunione sono molti e diversi. La tradizione cattolica ne enumera svariate decine che sono state ispirate dai santi nel corso dei secoli passati e che hanno trovato una eco più o meno duratura e diffusa, in funzione della semplicità, della praticità e della bellezza delle stesse modalità di preghiera.
Tra le forme private di preghiera più diffuse dalla tradizione cristiana troviamo:
la preghiera biblica (che utilizza direttamente le parole della Sacra Scrittura oppure che parte dalla lettura della Bibbia per poi aprirsi al colloquio personale con Dio, come fa la lectio divina);
il colloquio personale con Dio (che l’uomo può vivere in qualunque tempo e luogo);
il Santo Rosario (una forma devozionale nata nel Medioevo e diffusa oggi in tutti i popoli cattolici);
il culto delle immagini (fondato sul fatto che l’immagine sacra subito richiama alla mente la persona divina rappresentata e diffuso, oltre che nelle chiese, specialmente nei luoghi dove le chiese e i luoghi di culto pubblico sono lontani); tale culto non è accettato dal Protestantesimo;
la via crucis (devozione nata nel Medioevo e diffusa nel XVII secolo da san Leonardo da Porto Maurizio);
la vigilanza (cioè l’atteggiamento interiore dell’uomo che vigila sui suoi pensieri, discernendo quelli buoni da quelli malvagi per coltivare quelli buoni e rinnegare, dissolvere, dimenticare quelli malvagi);
la ripetizione (cioè l’atto della volontà che dà inizio ad un ciclo ripetitivo di brevi invocazioni o preghiere ben conosciute, che l’uomo ripete dentro di sé fino a formare un tappeto morbido e robusto sul quale l’anima si stende e si rilassa per poi entrare nella contemplazione);
la contemplazione (è la forma di preghiera considerata più santa, in quanto comunione stessa con il Santo, essendo stata definita dall’uomo la santità come la natura stessa di Dio; la contemplazione è la presenza viva di Dio nell’uomo che ispira direttamente pensieri, parole, immagini, azioni, per cui nella contemplazione l’uomo vede ciò che Dio vede, sente ciò che Dio sente, fa ciò che Dio fa);
la meditazione (è il fluire o il sorgere di pensieri che vengono suggeriti, stimolati, ispirati dalle fonti più diverse: ricordi, incontri, discorsi, letture, fatti, immagini, simboli, etc. Essendo immenso il bacino di spunti per la meditazione, essa è probabilmente la forma di orazione più praticata di ogni tempo).
Jörg Zink, Come pregare, Claudiana, Torino 1988.
Giordano Berti, Preghiere di tutto il mondo, Vallardi, Milano 1999.
Gérald Messadié (a cura di), Il piccolo libro delle preghiere, Armenia, Milano 2003.
Catechismo della Chiesa Cattolica (di cui la Parte Quarta è interamente dedicata alla preghiera)
Prayer is a form of religious practice that seeks to activate a volitional rapport to God or spirit through deliberate practice. Prayer may be either individual or communal and take place in public or in private. It may involve the use of words or song. When language is used, prayer may take the form of a hymn, incantation, formal creed, or a spontaneous utterance in the praying person. There are different forms of prayer such as petitionary prayer, prayers of supplication, thanksgiving, and worship/praise. Prayer may be directed towards a deity, spirit, deceased person, or lofty idea, for the purpose of worshipping, requesting guidance, requesting assistance, confessing sins or to express one’s thoughts and emotions. Thus, people pray for many reasons such as personal benefit or for the sake of others.
Most major religions involve prayer in one way or another. Some ritualize the act of prayer, requiring a strict sequence of actions or placing a restriction on who is permitted to pray, while others teach that prayer may be practiced spontaneously by anyone at any time.
Scientific studies regarding the use of prayer have mostly concentrated on its effect on the healing of sick or injured people. The efficacy of petition in prayer for physical healing to a deity has been evaluated in numerous studies, with contradictory results There has been some criticism of the way the studies were conducted
Forms of prayer
Various spiritual traditions offer a wide variety of devotional acts. There are morning and evening prayers, graces said over meals, and reverent physical gestures. Some Christians bow their heads and fold their hands. Some Native Americans regard dancing as a form of prayer. Some Sufis whirl. Hindus chant mantras. Orthodox Jews sway their bodies back and forth and Salah for Muslims (“kneel and prostrate as seen on the right”). Quakers keep silent. Some pray according to standardized rituals and liturgies, while others prefer extemporaneous prayers. Still others combine the two.
These methods show a variety of understandings to prayer, which are led by underlying beliefs.
These beliefs may be that
the finite can communicate with the infinite
the infinite is interested in communicating with the finite
prayer is intended to inculcate certain attitudes in the one who prays, rather than to influence the recipient
prayer is intended to train a person to focus on the recipient through philosophy and intellectual contemplation
prayer is intended to enable a person to gain a direct experience of the recipient
prayer is intended to affect the very fabric of reality as we perceive it
prayer is a catalyst for change in oneself and/or one’s circumstances, or likewise those of third party beneficiaries
the recipient desires and appreciates prayer
or any combination of these.
The act of prayer is attested in written sources as early as 5000 years ago. Some anthropologists, such as Sir Edward Burnett Tylor and Sir James George Frazer, believed that the earliest intelligent modern humans practiced something that we would recognize today as prayer.
Friedrich Heiler is often cited in Christian circles for his systematic Typology of Prayer which lists six types of prayer: primitive, ritual, Greek cultural, philosophical, mystical, and prophetic
The act of worship
Prayer has many different forms. Prayer may be done privately and individually, or it may be done corporately in the presence of fellow believers. Prayer can be incorporated into a daily “thought life”, in which one is in constant communication with a god. Some people pray throughout all that is happening during the day and seek guidance as the day progresses. This is actually regarded as a requirement in several Christian denominations, although enforcement is not possible nor desirable. There can be many different answers to prayer, just as there are many ways to interpret an answer to a question, if there in fact comes an answer. Some may experience audible, physical, or mental epiphanies. If indeed an answer comes, the time and place it comes is considered random. Some outward acts that sometimes accompany prayer are: anointing with oil; ringing a bell; burning incense or paper; lighting a candle or candles; facing a specific direction (i.e. towards Mecca or the East); making the sign of the cross. One less noticeable act related to prayer is fasting.
A variety of body postures may be assumed, often with specific meaning (mainly respect or adoration) associated with them: standing; sitting; kneeling; prostrate on the floor; eyes opened; eyes closed; hands folded or clasped; hands upraised; holding hands with others; a laying on of hands and others. Prayers may be recited from memory, read from a book of prayers, or composed spontaneously as they are prayed. They may be said, chanted, or sung. They may be with musical accompaniment or not. There may be a time of outward silence while prayers are offered mentally. Often, there are prayers to fit specific occasions, such as the blessing of a meal, the birth or death of a loved one, other significant events in the life of a believer, or days of the year that have special religious significance. Details corresponding to specific traditions are outlined below.
Etruscan, Greek, and Roman paganism
In the pre-Christian religions of Greeks and Romans (Ancient Greek religion, Roman religion), ceremonial prayer was highly formulaic and ritualized. The Iguvine Tables contain a supplication that can be translated, “If anything was said improperly, if anything was done improperly, let it be as if it were done correctly.”
The formalism and formulaic nature of these prayers led them to be written down in language that may have only been partially understood by the writer, and our texts of these prayers may in fact be garbled. Prayers in Etruscan were used in the Roman world by augurs and other oracles long after Etruscan became a dead language. The Carmen Arvale and the Carmen Saliare are two specimens of partially preserved prayers that seem to have been unintelligible to their scribes, and whose language is full of archaisms and difficult passages.
Roman prayers and sacrifices were often envisioned as legal bargains between deity and worshipper. The Roman principle was expressed as do ut des: “I give, so that you may give.” Cato the Elder’s treatise on agriculture contains many examples of preserved traditional prayers; in one, a farmer addresses the unknown deity of a possibly sacred grove, and sacrifices a pig in order to placate the god or goddess of the place and beseech his or her permission to cut down some trees from the grove
An amount of accounts of prayers to the gods in Germanic paganism survived the process of Christianization, though only a single prayer has survived without the interjection of Christian references. This prayer is recorded in stanzas 2 and 3 of the poem Sigrdrífumál, compiled in the 13th century Poetic Edda from earlier traditional sources, where the valkyrie Sigrdrífa prays to the gods and the earth after being woken by the hero Sigurd.
A prayer to the bigger god Odin is mentioned in chapter 2 of the Völsunga saga where King Rerir prays for a child. His prayer is answered by Frigg, wife of Odin, who sends him an apple, which is dropped on his lap by Frigg’s servant in the form of a crow while Rerir is sitting on a mound. Rerir’s wife eats the apple and is then pregnant with the hero Völsung. In stanza 9 of the poem Oddrúnargrátr, a prayer is made to “kind wights, Frigg and Freyja, and many gods,” although since the poem is often considered one of the youngest poems in the Poetic Edda, the passage has been the matter of some debate.
In chapter 21 of Jómsvíkinga saga, wishing to turn the tide of the Battle of Hjörungavágr, Haakon Sigurdsson eventually finds his prayers answered by the goddesses Þorgerðr Hölgabrúðr and Irpa (the first of the two described as Haakon’s patron goddess) who appear in the battle, kill many of the opposing fleet, and cause the remnants of their forces to flee. However, this depiction of a pagan prayer has been criticized as inaccurate due to the description of Haakon dropping to his knees.
The 11th century manuscript for the Anglo-Saxon charm Æcerbot presents what is thought to be an originally pagan prayer for the fertility of the speaker’s crops and land, though Christianization is apparent throughout the charm. The 8th century Wessobrunn Prayer has been proposed as a Christianized pagan prayer and compared to the pagan Völuspá and the Merseburg Incantations, the latter recorded in the 9th or 10th century but of much older traditional origins
In the common Bible of the Abrahamic religions, various forms of prayer appear; the most common forms being petition, thanksgiving, and worship. The longest book in the Bible is the Book of Psalms, 150 religious songs which are often regarded as prayers. Other well-known Biblical prayers include the Song of Moses (Exodus 15:1-18), the Song of Hannah (1 Samuel 2:1-10), and the Magnificat (Luke 1:46-55). But perhaps the best-known prayer in the Christian Bible is the Lord’s Prayer (Matthew 6:9–13; Luke 11:2-4).
See also: Tanakh, New Testament, Prayer in the Hebrew Bible, and Prayer in the New Testament
Jews pray three times a day, with lengthier prayers on special days, such as the Shabbat and Jewish holidays. The siddur is the prayerbook used by Jews all over the world, containing a set order of daily prayers. Jewish prayer is usually described as having two aspects: kavanah (intention) and keva (the ritualistic, structured elements).
The most important Jewish prayers are the Shema Yisrael (“Hear O Israel”) and the Amidah (“the standing prayer”).
Communal prayer is preferred over solitary prayer, and a quorum of 10 adult males (a minyan) is considered by Orthodox Judaism a prerequisite for several communal prayers.
Rationalist approach to prayer
In this view, ultimate goal of prayer is to help train a person to focus on divinity through philosophy and intellectual contemplation. This approach was taken by Maimonides and the other medieval rationalists. One example of this approach to prayer is noted by Rabbi Steven Weil, who was appointed the Orthodox Union’s Executive-Vice President in 2009. He notes that the word “prayer” is a derivative of the Latin “precari”, which means “to beg”. The Hebrew equivalent “tefilah”, however, along with its root “pelel” or its reflexive “l’hitpallel”, means the act of self-analysis or self-evaluation. This approach is sometimes described as the person praying having a dialogue or conversation with God.
Educational approach to prayer
In this view, prayer is not a conversation. Rather, it is meant to inculcate certain attitudes in the one who prays, but not to influence. This has been the approach of Rabbenu Bachya, Yehuda Halevy, Joseph Albo, Samson Raphael Hirsch, and Joseph Dov Soloveitchik. This view is expressed by Rabbi Nosson Scherman in the overview to the Artscroll Siddur (p. XIII); note that Scherman goes on to also affirm the Kabbalistic view (see below).
Kabbalistic approach to prayer
Kabbalah (Jewish mysticism) uses a series of kavanot, directions of intent, to specify the path the prayer ascends in the dialog with God, to increase its chances of being answered favorably. Kabbalists ascribe a higher meaning to the purpose of prayer, which is no less than affecting the very fabric of reality itself, restructuring and repairing the universe in a real fashion. In this view, every word of every prayer, and indeed, even every letter of every word, has a precise meaning and a precise effect. Prayers thus literally affect the mystical forces of the universe, and repair the fabric of creation.
Among Jews, this approach has been taken by the Chassidei Ashkenaz (German pietists of the Middle-Ages), the Arizal’s Kabbalist tradition, Ramchal, most of Hassidism, the Vilna Gaon, and Jacob Emden.
Main articles: Prayer in Christianity and Christian worship
Christian prayers are quite varied. They can be completely spontaneous, or read entirely from a text, like the Anglican Book of Common Prayer. Probably the most common and universal prayer among Christians is the Lord’s Prayer, which according to the gospel accounts is how Jesus taught his disciples to pray. Some Protestant denominations choose not to recite the Lord’s Prayer or other rote prayers.
Christians generally pray to God or to the Father. Some Christians (e.g., Catholics, Orthodox) will also ask the righteous in heaven and “in Christ,” such as Virgin Mary or other saints to intercede by praying on their behalf (intercession of saints). Formulaic closures include “through our Lord Jesus Christ, Your Son, who lives and reigns with You, in the unity of the Holy Spirit, God, through all the ages of ages,” and “in the name of the Father, and the Son, and the Holy Spirit.”
It is customary among Protestants to end prayers with “In Jesus’ name, Amen” or “In the name of Christ, Amen” However, the most commonly used closure in Christianity is simply “Amen” (from a Hebrew adverb used as a statement of affirmation or agreement, usually translated as so be it).
There is also the form of prayer called hesychast which is a repetitious type of prayer for the purpose of meditation. In the Western or Latin Rite of Catholic Church, probably the most common is the Rosary; In the Eastern Church (the Eastern rites of the Catholic Church and Orthodox Church), the Jesus Prayer.
Roman Catholic tradition includes specific prayers and devotions as acts of reparation which do not involve a petition for a living or deceased beneficiary, but aim to repair the sins of others, e.g. for the repair of the sin of blasphemy performed by others
In Pentecostal congregations, prayer is often done by speaking in a foreign tongue, a practice now known as glossolalia. Practitioners of Pentecostal glossolalia may claim that the languages they speak in prayer are real foreign languages, and that the ability to speak those languages spontaneously is a gift of the Holy Spirit; however, many people outside the movement have offered alternative views. George Barton Cutten suggested that glossolalia was a sign of mental illness. Felicitas Goodman suggested that tongue speakers were under a form of hypnosis. Others suggest that it is a learned behaviour. Some of these views have allegedly been refuted
Christian Science teaches that prayer is a spiritualization of thought or an understanding of God and of the nature of the underlying spiritual creation. Adherents believe that this can result in healing, by bringing spiritual reality (the “Kingdom of Heaven” in Biblical terms) into clearer focus in the human scene. The world as it appears to the senses is regarded as a distorted version of the world of spiritual ideas. Prayer can heal the distortion. Christian Scientists believe that prayer does not change the spiritual creation but gives a clearer view of it, and the result appears in the human scene as healing: the human picture adjusts to coincide more nearly with the divine reality. Christian Scientists do not practice intercessory prayer as it is commonly understood, and they generally avoid combining prayer with medical treatment in the belief that the two practices tend to work against each other. (However, the choice of healing method is regarded as a matter for the individual, and the Christian Science Church exerts no pressure on members to avoid medical treatment if they wish to avail of it as an alternative to Christian Science healing.) Prayer works through love: the recognition of God’s creation as spiritual, intact, and inherently lovable
Prevalence of prayer for health
Some modalities of alternative medicine employ prayer. A survey released in May 2004 by the National Center for Complementary and Alternative Medicine, part of the National Institutes of Health in the United States, found that in 2002, 43% of Americans pray for their own health, 24% pray for others’ health, and 10% participate in a prayer group for their own healt
Muslims pray a ritualistic prayer called salah or salat in Arabic, facing the Kaaba in Mecca, five times a day. The command to pray is in the Quran in several chapters. The prophet Muhammed showed each Muslim the true method of offering prayers thus the same method is observed till date. There is the “call for prayer” (adhan or azaan), where the muezzin calls for all the followers to stand together for the prayer. The prayer consists of standing, by mentioning -àllàh o -àqbàr (God is great) followed by recitation of the first chapter of the Quran. After the person bends and praises god, then prostrates and again praises god. The prayer ends with the following words “peace and blessings be upon you”. During the prayer a Muslim cannot talk or do anything else besides praying. Once the prayer is complete one can offer voluntary prayers or supplicate -àllàh for his needs. There are also many standard duas or supplications, also in Arabic, to be recited at various times, e.g. for one’s parents, after salah, before eating. Muslims may also say dua in their own words and languages for any issue they wish to communicate with God in the hope that God will answer their prayers. Certain Shia fiqhs pray 3 times a day.
Main article: Prayer in the Bahá’í Faith
Bahá’u’lláh, the Báb, and `Abdu’l-Bahá have revealed many prayers for general use, and some for specific occasions, including for unity, detachment, spiritual upliftment, and healing among others. Bahá’ís are also required to recite each day one of three obligatory prayers revealed by Bahá’u’lláh. The believers have been enjoined to face in the direction of the Qiblih when reciting their Obligatory Prayer. The longest obligatory prayer may be recited at any time during the day; another, of medium length, is recited once in the morning, once at midday, and once in the evening; and the shortest can be recited anytime between noon and sunset. Bahá’ís also read from and meditate on the scriptures every morning and evening.
In contrast with Western religion, Eastern religion for the most part discards worship and places devotional emphasis on the practice of meditation alongside scriptural study. Consequently, prayer is seen as a form of meditation or an adjunct practice to meditation
n certain Buddhist sects, prayer accompanies meditation. Buddhism for the most part sees prayer as a secondary, supportive practice to meditation and scriptural study. Gautama Buddha claimed that human beings possess the capacity and potential to be liberated, or enlightened, through contemplation, leading to insight. Prayer is seen mainly as a powerful psycho-physical practice that can enhance meditation.
In the earliest Buddhist tradition, the Theravada, and in the later Mahayana tradition of Zen (or Chán), prayer plays only an ancillary role. It is largely a ritual expression of wishes for success in the practice and in helping all beings.
The skillful means (Sanskrit: upaya) of the transfer of merit (Sanskrit: parinamana) is an evocation and prayer. Moreover, indeterminate buddhas are available for intercession as they reside in awoken-fields (Sanskrit: buddha-kshetra).
The nirmanakaya of a awoken-field is what is generally known and understood as mandala. The opening and closing of the ring (Sanskrit: mandala) is an active prayer. An active prayer is a mindful activity, an activity in which mindfulness is not just cultivated but is. A common prayer is “May the merit of my practice, adorn Buddhas’ Pure Lands, requite the fourfold kindness from above, and relieve the suffering of the three life-journeys below. Universally wishing sentient beings, Friends, foes, and karmic creditors, all to activate the bodhi mind, and all to be reborn in the Pure Land of Ultimate Bliss.” (願以此功德 莊嚴佛淨土 上報四重恩 下濟三途苦 普願諸眾生 冤親諸債主 悉發菩提心 同生極樂國)
The Generation Stage (Sanskrit: utpatti-krama) of Vajrayana involves prayer elements.
The Tibetan Buddhism tradition emphasizes an instructive and devotional relationship to a guru; this may involve devotional practices known as guru yoga which are congruent with prayer. It also appears that Tibetan Buddhism posits the existence of various deities, but the peak view of the tradition is that the deities or yidam are no more existent or real than the continuity (Sanskrit: santana; refer mindstream) of the practitioner, environment and activity. But how practitioners engage yidam or tutelary deities will depend upon the level or more appropriately yana at which they are practicing. At one level, one may pray to a deity for protection or assistance, taking a more subordinate role. At another level, one may invoke the deity, on a more equal footing. And at a higher level one may deliberately cultivate the idea that one has become the deity, whilst remaining aware that its ultimate nature is shunyata. The views of the more esoteric yana are impenetrable for those without direct experience and empowerment.
Pure Land Buddhism emphasizes the recitation by devotees of prayer-like mantras, a practice often called Nembutsu.:190 On one level it is said that reciting these mantras can ensure rebirth into a sambhogakaya land (Sanskrit: buddha-kshetra) after bodily dissolution, a sheer ball spontaneously co-emergent to a buddha’s enlightened intention. According to Shinran, the founder of the Pure Land Buddhism tradition that is most prevalent in the US:193 “for the long haul nothing is as efficacious as the Nembutsu.”:197 On another, the practice is a form of meditation aimed at achieving realization.
But beyond all these practices the Buddha emphasized the primacy of individual practice and experience. He said that supplication to gods or deities was not necessary. Nevertheless, today many lay people in East Asian countries pray to the Buddha in ways that resemble Western prayer—asking for intervention and offering devotion.
Hinduism has incorporated many kinds of prayer (Sanskrit: prārthanā), from fire-based rituals to philosophical musings. While chanting involves ‘by dictum’ recitation of timeless verses or verses with timings and notations, dhyanam involves deep meditation (however short or long) on the preferred deity/God. Again the object to which prayers are offered could be a persons referred as devtas, trinity or incarnation of either devtas or trinity or simply plain formless meditation as practiced by the ancient sages. All of these are directed to fulfilling personal needs or deep spiritual enlightenment. Ritual invocation was part and parcel of the Vedic religion and as such permeated their sacred texts. Indeed, the highest sacred texts of the Hindus, the Vedas, are a large collection of mantras and prayer rituals. Classical Hinduism came to focus on extolling a single supreme force, Brahman, that is made manifest in several lower forms as the familiar gods of the Hindu pantheon[dubious – discuss]. Hindus in India have numerous devotional movements. Hindus may pray to the highest absolute God Brahman, or more commonly to Its three manifestations namely creator god called Brahma, preserver god called Vishnu and destroyer god (so that the creation cycle can start afresh) Shiva, and at the next level to Vishnu’s avatars (earthly appearances) Rama and Krishna or to many other male or female deities. Typically, Hindus pray with their hands (the palms) joined together in pranam. The hand gesture is similar to the popular Indian greeting namaste.
Although Jains believe that no spirit or divine being can assist them on their path, they do hold some influence, and on special occasions, Jains will pray for right knowledge to the twenty-four Tirthankaras (saintly teachers) or sometimes to Hindu deities such as Ganesha.
The practices involved in Shinto prayer are heavily influenced by Buddhism; Japanese Buddhism has also been strongly influenced by Shinto in turn. The most common and basic form of devotion involves throwing a coin, or several, into a collection box, ringing a bell, clapping one’s hands, and contemplating one’s wish or prayer silently. The bell and hand clapping are meant to wake up or attract the attention of the kami of the shrine, so that one’s prayer may be heard.
Shinto prayers quite frequently consist of wishes or favors asked of the kami, rather than lengthy praises or devotions. Unlike in certain other faiths, it is not considered irregular or inappropriate to ask favors of the kami in this way, and indeed many shrines are associated with particular favors, such as success on exams.
In addition, one may write one’s wish on a small wooden tablet, called an ema, and leave it hanging at the shrine, where the kami can read it. If the wish is granted, one may return to the shrine to leave another ema as an act of thanksgiving.
The Ardās (Punjabi: ਅਰਦਾਸ) is a Sikh prayer that is done before performing or after undertaking any significant task; after reciting the daily Banis (prayers); or completion of a service like the Paath (scripture reading/recitation), kirtan (hymn-singing) program or any other religious program. In Sikhism, these prayers are also said before and after eating. The prayer is a plea to God to support and help the devotee with whatever he or she is about to undertake or has done.
The Ardas is usually always done standing up with folded hands. The beginning of the Ardas is strictly set by the tenth Sikh Guru, Guru Gobind Singh. When it comes to conclusion of this prayer, the devotee uses word like “Waheguru please bless me in the task that I am about to undertake” when starting a new task or “Akal Purakh, having completed the hymn-singing, we ask for your continued blessings so that we can continue with your memory and remember you at all times”, etc. The word “Ardās” is derived from Persian word ‘Arazdashat’, meaning a request, supplication, prayer, petition or an address to a superior authority.
Ardās is a unique prayer based on the fact that it is one of the few well-known prayers in the Sikh religion that was not written in its entirety by the Gurus. The Ardās cannot be found within the pages of the Guru Granth Sahib because it is a continually changing devotional text that has evolved over time in order for it to encompass the feats, accomplishments, and feelings of all generations of Sikhs within its lines. Taking the various derivation of the word Ardās into account, the basic purpose of this prayer is an appeal to Waheguru for his protection and care, as well as being a plea for the welfare and prosperity of all mankind, and a means for the Sikhs to thank Waheguru for all that he has done
Prayer in Taoism is less common than Fulu, which is the drawing and writing of supernatural talismans
Although prayer in its literal sense is not used in animism, communication with the spirit world is vital to the animist way of life. This is usually accomplished through a shaman who, through a trance, gains access to the spirit world and then shows the spirits’ thoughts to the people. Other ways to receive messages from the spirits include using astrology or contemplating fortune tellers and healers. The native religions in some parts of North, East and South Asia, America, Africa, and Oceania are often animistic.
The Aztec religion was not strictly animist. It had an ever increasing pantheon of deities, and the shamans performed ritual prayer to these deities in their respective temples. These shamans made petitions to the proper deities in exchange for a sacrifice offering: food, flowers, effigies, and animals, usually quail. But the larger the thing required from the God the larger the sacrifice had to be, and for the most important rites one would offer one’s own blood; by cutting his ears, arms, tongue, thighs, chest or genitals, and often a human life; either warrior, slave, or even self-sacrifice.
The Pueblo Indians are known to have used prayer sticks, that is, sticks with feathers attached as supplicatory offerings. The Hopi Indians used prayer sticks as well, but they attached to it a small bag of sacred meat
In Australia, prayers to the “Great Wit” are performed by the “clever wapmen” and “clever women”, or kadji. These Aboriginal shamans use maban or mabain, the material that is believed to give them their purported magical powers
Adherents to forms of modern Neopaganism pray to various gods. The most commonly worshiped and prayed to gods are those of Pre-Christian Europe, such as Celtic, Norse, or Graeco-Roman gods. Prayer can vary from sect to sect, and with some (such as Wicca) prayer may also be associated with ritual magick.
Theurgy and Western Esotericism
Practitioners of theurgy and western esotericism may practice a form of ritual which utilizes both pre-sanctioned prayers and names of God, and prayers “from the heart” that, when combined, allows the participant to ascend spiritually, and in some instances, induce a trance in which God or other spiritual beings may be realized. Very similar to hermetic qabala, and orthodox qabala, it is believed that prayer can influence both the physical and non-physical worlds. The use of ritualistic signs and names are believed to be archetypes in which the subconscious may take form as the Inner God, or another spiritual being, and the “prayer from the heart” to be that spiritual force speaking through the participant.
The Indian spiritual teacher Meher Baba emphasized both the beauty of prayer as praise and the power of prayer as petition:
“The ideal prayer to the Lord is nothing more than spontaneous praise of His being. You praise Him, not in the spirit of bargain but in the spirit of self-forgetful appreciation of what He really is. You praise Him because He is praiseworthy. Your praise is a spontaneous appreciative response to his true being, as infinite light, infinite power and infinite bliss.”
“Through repeated sincere prayers it is possible to effect an exit from the otherwise inexorable working out of the law of karma. The forgiveness asked from God evokes from Him His inscrutable grace, which alone can give new direction to the inexorable karmic determination
Le voci e le risate
..E mentre sai guardare alla vita
con una profondità nuova
riesumando la forza che hai dentro
ti ricordi di tutti quei sogni
che provenivano da lontano
da uno spazio strappato
sulla linea del tempo
le voci e le risate nel cortile
che credevi morte per sempre
ed alle quali non hai mai più dato ascolto
perché a detta di altri
erano solo perdita di tempo
e senza una ragione
E solo oggi comprendi
quanto hai creduto di perdere
ma era sempre al tuo fianco:
un amico che guarda ancora le stelle
e non smette di sperare
oltre il confine di quel sogno
che avevo creduto indossasse
The voices and laughter
And as you know .. look at life
with a new depth
exhuming the strength you have inside
you remember all those dreams
who came from afar
on the time line
the voices and laughter in the yard
you thought was dead forever
and to which you have never listened
because that other
were just wasting time
and without a reason
It is only now understand
what you thought you lost
but it was always by your side:
a friend who still see the stars
and not giving up hope
beyond the border of that dream
I thought wearing
the habit of delusion.
Theme illusions of friend
“The first duty is to preserve the friendship
illusions of his friend. ” What do you think?
Raised in this way the sentence as we hear: ‘The
first duty is to preserve the illusion of friendship
the friend. ”
Perhaps the dialogue of the heart, without restraint and without fear
trial can be released in other parts of himself
areas, far from true friendship, too uniform
to competitiveness, they stay. Among these dreams,
those hopes and desires that are not longing, but wire
subtle touch that makes a part that would not otherwise
voice. Then the relationship of friendship is “prenderdersi care”
other and not just himself, and rely on
who walks beside us, with loyalty and trust in us
response must have the discernment and the ability to
take and indicate where you’re pushing beyond
dream (does not hurt to dream) to result in illusions.
Deceived or deluded, let those who trust in us
fall in the traps is something that betrays his loyalty, not
only to ourselves, but especially to others.
Avoid stumbling into holes no illusions
means that you should have a rigid attitude or
you ought to criticize, you must have the capacity almost
pedagogy of deep and ask questions
to induce the person to reflect and understand the pitfalls
alone. You should not show any closure
enthusiasm judging vain quite understand whether there is
escape from reality and be flexible, understand that sometimes
we can leave to the imagination. We can not
replace anyone, it is true, but even remain
indifferently and often have feelings of empathy and
compassion to come to our aid in the search for
best formula to “stay close” to whom we seek.
Nick Cave, all’anagrafe Nicholas Edward Cave (Warracknabeal, 22 settembre 1957), è un cantautore, compositore, scrittore, sceneggiatore e attore australiano.
Grazie ad una serie di notevoli album e intense esibizioni dal vivo, ha coniato uno stile lirico e musicale inconfondibile che lo ha imposto come una delle figure più influenti e carismatiche della musica contemporanea.
Dagli esordi post-punk ai lavori recenti, più vicini al cantautorato, Cave ha sviluppato una personalissima rielaborazione dei generi cardine della musica nata negli Stati Uniti (blues, gospel, country), affrontati con lo spirito cupo e sperimentale della new wave e del gothic rock, anche grazie alla sua caratteristica voce gutturale dabaritono. I suoi testi, attraversati da una forte tensione religiosa e da un costante senso di apocalisse imminente, affrontano tematiche quali il ruolo del divino nella vita dell’uomo, la ricerca della redenzione, l’angoscia esistenziale e l’amore perduto
Nicholas Edward “Nick” Cave (born 22 September 1957) is an Australian musician, songwriter, author, screenwriter, composer and occasional film actor. He is best known as the frontman of Nick Cave and the Bad Seeds, established in 1983, a group known for its diverse output and ever-evolving line-up. Prior to this, he fronted the Birthday Party, one of the most extreme and confrontational post-punk bands of the early 1980s. In 2006, he formed the garage rock band Grinderman, releasing its debut album the following year.
Referred to as rock music’s “Prince of Darkness”, Cave’s music is generally characterised by emotional intensity, a wide variety of influences, and lyrical obsessions with death, religion, love and violence. NME described him as “the grand lord of gothic lushness”.
Cave has also worked as a composer for films, often in collaboration with fellow Australian musician Warren Ellis. Their films together include The Proposition (2005, based on a screenplay by Cave), The Assassination of Jesse James by the Coward Robert Ford (2007) and The Road (2009). Cave is the subject and co-writer of the semi-fictional “day in the life” documentary 20,000 Days on Earth (2014).
Upon Cave’s induction into the ARIA Hall of Fame, ARIA Awards committee chairman Ed St John said: “Nick Cave has enjoyed—and continues to enjoy—one of the most extraordinary careers in the annals of popular music. He is an Australian artist like Sidney Nolan is an Australian artist—beyond comparison, beyond genre, beyond dispute.”
Come potrà mai riuscire lo stolto
a controllare la propria mente?
Il controllo della mente
arriva con naturalezza al saggio
che trova la felicità in se stesso,
senza che debba fare sforzi.
Astravakra Gita, XVIII, 41
How will never succeed the fool
to control his mind?
comes naturally to the wise
who finds happiness in himself,
without the need to make efforts.
Astravakra Gita, XVIII, 41
Qualunque cosa fai, falla coscientemente.
E insisto: qualunque cosa fai!
Non vi dico che dovete fare certe cose e non altre, no.
Basta che tu sia consapevole di tutto quello che fai e,
un po’ alla volta, ogni tua azione
ti rendera’ sempre piu’ asciutto.
Imparerai ad essere distaccato,
perche’ il distacco e’ una conseguenza della consapevolezza.
(Bhagwan Shree Rajneesh (Osho) – L’armonia nascosta)
Seguire passo passo ogni pensiero, ogni azione, perchè la mente non scivoli da un momento all’altro, ma sia ancorata a quanto accada dentro di sè, alle azioni e persino alle intenzioni; che siano capaci di coerenza e non lascino tracce confuse, lontane dalla nostra attenzione. Portare serenità e sfatare tutte le paure, con il coraggio di smascherare ogni illusione. Comprendere le nostre debolezze e non provare rabbia, frustrazione, abbracciando noi stessi ed i nostri blocchi interiori. Provare gratitudine per le piccole o grandi cose, per le bellissime opportunità che la vita ci offre. Comprendere che non esiste fallimento o vittoria ma tante opportunità per la nostra esperienza. Non provare attaccamento, perchè non è in atto una gara, con mete da raggiungere. Non si vince nessun premio, ma semplicemente si impara la compassione verso se stessi e gli altri. Nulla è separato e le vere conquiste sono quelle che tu puoi vivere se ti apri all’amorevolezza e alla compassione.
Gli Echo & the Bunnymen sono un gruppo musicale britannico post-punk formatosi a Liverpool nel 1978.
Inizialmente il gruppo era composto da Ian McCulloch, Will Sergeant e Les Pattinson. Sono diventati famosi
per album come Heaven Up Here, Porcupine e Ocean Rain in cui è contenuta la canzone The Killing Moon.
Echo & the Bunnymen are an English rock band formed in Liverpool in 1978.
The original line-up consisted of vocalist Ian McCulloch, guitarist Will Sergeant and bass player Les Pattinson,
supplemented by a drum machine. By 1980, Pete de Freitas joined as the band’s drummer.
Their 1980 debut album, Crocodiles, met with critical acclaim and made the UK Top 20.
Their second album, Heaven Up Here (1981), again found favour with the critics and reached number 10 in the UK Album chart.
The band’s cult status was followed by mainstream success in the mid-1980s, as they scored a UK Top 10 hit with “The Cutter”,
and the attendant album, Porcupine (1983), reached number 2 in the UK. Their next release, Ocean Rain (1984),
continued the band’s UK chart success, and has since been regarded as their landmark release, spawning the hit singles
“The Killing Moon”, “Silver” and “Seven Seas”. One more studio album, Echo & the Bunnymen (1987), was released
before McCulloch left the band to pursue a solo career in 1988.
The following year, in 1989, de Freitas was killed in a motorcycle accident,
and the band re-emerged with a new line-up. Original members
Will Sergeant and Les Pattinson were joined by Noel Burke as lead singer,
Damon Reece on drums and Jake Brockman on keyboards.
This new incarnation of the band released Reverberation in 1990,
but the disappointing critical and commercial reaction it received culminated
with a complete split in 1993.
After working together as Electrafixion, McCulloch and Sergeant
regrouped with Pattinson in 1997 and returned as Echo & the Bunnymen
with the UK Top 10 hit “Nothing Lasts Forever”. An album of new material,
Evergreen, was greeted enthusiastically by critics and the band made a successful
return to the live arena. Though Pattinson left the group for a second time,
McCulloch and Sergeant have continued to issue new material
as Echo & the Bunnymen, including the albums What Are You Going
to Do with Your Life? (1999), Flowers (2001), Siberia (2005), The Fountain (2009)
In 2012 Ian McCulloch released his fourth solo LP, Pro Patria Mori
and a live album Holy Ghosts in 2013. In 2013 Will Sergeant
and Les Pattinson formed a group called “Poltergeist” and released
an album called Your Mind Is A Box (Let Us Fill It With Wonder)
in June 2013.
L’ASCOLTO COMPASSIONEVOLE DA’ SOLLIEVO ALLA SOFFERENZA
Se una persona si esprime con rabbia è perché sta soffrendo
profondamente: la sofferenza la riempie di amarezza, dunque è
sempre pronta a lamentarsi e a biasimare gli altri per i suoi
problemi. Per questa ragione trovi molto sgradevole starla ad
ascoltare e fai di tutto per evitarla.
Per comprendere e trasformare la rabbia dobbiamo imparare la
pratica dell’ascolto compassionevole e imparare ad esprimerci con
Ascoltare con compassione può aiutare a soffrire di meno. Con le
migliori intenzioni, infatti, non riuscirai ad ascoltare l’altro
in profondità se non alleni te stesso nell’arte dell’ascolto
compassionevole; se invece sei capace di stare seduto tranquillo
e di ascoltare quella persona per un’ora con vera compassione,
puoi alleviare molta della sua sofferenza.
Ascolta con un solo scopo: permettere all’altro di esprimere se
stesso e di trovare sollievo dalla sua sofferenza. Mantieni viva
la compassione per tutto il tempo dell’ascolto.
Mentre ascolti devi essere molto concentrato, devi focalizzarti
sulla pratica dell’ascolto con tutta l’attenzione, con tutto te
stesso: occhi, orecchie, corpo e mente. Se fai finta di
ascoltare, se non ascolti con il cento per cento di te stesso,
l’altro se ne accorge e non si sente affatto sollevato dalla sua
sofferenza. Se invece sai praticare il respiro consapevole e sai
rimanere concentrato sul desiderio di aiutare l’altro a trovare
sollievo, allora ascoltandolo riesci a mantenere viva al tua
L’ascolto compassionevole è una pratica molto profonda. Stai ad
ascoltare senza giudicare né biasimare; stai ad ascoltare solo
perché desideri che l’altra persona soffra di meno.
L’altro potrebbe essere nostro padre, nostro figlio, nostra
figlia, il nostro partner. Imparare ad ascoltare l’altro può
aiutarlo realmente a trasformare la sua rabbia e la sua
da: Thich Nath Hanh – “Spegni il fuoco della rabbia”, Mondadori
COMPASSIONATE LISTENING TO ‘THE PAIN RELIEF
If a person expresses anger is cause is suffering
deeply: suffering fills it with bitterness, is so
always ready to complain and blame others for his
problems. For this reason, are very unpleasant to
listen and do everything to avoid it.
To understand and transform anger we must learn
practice of compassionate listening and learning how to express ourselves with
Listen with compassion can help you suffer less. with the
best of intentions, in fact, not be able to listen to the other
in depth if you do not train yourself in the art of listening
compassionate, but if you are able to sit quiet
and listen to that person for an hour with true compassion,
can alleviate much of its suffering.
Play with one purpose: to allow the other to express
itself and to find relief from his suffering. Keep alive
compassion for all the time listening.
As you listen you have to be very focused, you focused yourself
the practice of listening with full attention, with all your
same eyes, ears, mind and body. If you pretend to
listen, if you do not listen with one hundred percent of yourself,
the other knows it and does not feel quite relieved of its
suffering. If you know to practice mindful breathing and you know
stay focused on the desire to help others find
relief, then you can keep listening to your living
The compassionate listening is a practice very deep. You are to
listen without judgment or blame, you’re to listen only
because you want the other person to suffer less.
The other could be our father, our son, our
daughter, our partners. Learning to listen to the other can
really help to turn his anger and his
by: Thich Nath Hanh – “Turn off the fire of anger”, Mondadori
Eric Patrick Clapton (IPA: [ˈɛɹɪk ˈpætɹɪk ˈklæptən]; Ripley, 30 marzo 1945) è un cantautore, chitarrista e compositore britannico.
Soprannominato «Slowhand» («Mano lenta») e «God» («Dio»), definito da Chuck Berry «The Man of the Blues» («l’uomo del blues»), Clapton è annoverato fra i chitarristi
blues e rock più famosi e influenti.
Nell’arco della sua lunga carriera, ha collaborato con altri artisti acclamati e ha militato in numerosi gruppi (The Yardbirds, John Mayall & the Bluesbreakers, Cream,
Blind Faith, Delaney & Bonnie, Derek and the Dominos) prima di affermarsi come solista, sperimentando nel corso degli anni svariati stili musicali, dal blues di matrice
tradizionale al rock psichedelico, dal reggae al pop rock.
Eric Patrick Clapton, CBE (born 30 March 1945), is an English rock and blues guitarist, singer and songwriter. He is the only three-time inductee to the Rock and Roll
Hall of Fame: once as a solo artist and separately as a member of the Yardbirds and Cream. Clapton has been referred to as one of the most important and influential
guitarists of all time. Clapton ranked second in Rolling Stone magazine’s list of the “100 Greatest Guitarists of All Time” and fourth in Gibson’s “Top 50
Guitarists of All Time”. He was also named number five in Time magazine’s list of “The 10 Best Electric Guitar Players” in 2009 
In the mid-1960s, Clapton left the Yardbirds to play blues with John Mayall & the Bluesbreakers. Immediately after leaving Mayall, Clapton formed the power trio Cream
with drummer Ginger Baker and bassist Jack Bruce, in which Clapton played sustained blues improvisations and “arty, blues-based psychedelic pop”. Furthermore, he
formed blues rock band Blind Faith with Baker, Steve Winwood, and Ric Grech. For most of the 1970s, Clapton’s output bore the influence of the mellow style of JJ Cale
and the reggae of Bob Marley. His version of Marley’s “I Shot the Sheriff” helped reggae reach a mass market. Two of his most popular recordings were “Layla”,
recorded with Derek and the Dominos; and Robert Johnson’s “Crossroads”, recorded with Cream. Following the death of his son Conor in 1991, Clapton’s grief was expressed
in the song “Tears in Heaven”, which featured in his Unplugged album.
Clapton has been the recipient of 18 Grammy Awards, and the Brit Award for Outstanding Contribution to Music. In 2004, he was awarded a CBE at Buckingham Palace for
services to music. In 1998, Clapton, a recovering alcoholic and drug addict, founded the Crossroads Centre on Antigua, a medical facility for recovering
il colore del tempo,
quale passo verrà
a portarmi via:
dove resta solo silenzio
di non ricordare
discorsi del passato
di non incidere nulla
perchè tutto quel che è stato
possa essere cancellato
Chiedo a te
che dopo avere asciugato
anche l’ultima lacrima
non si costruiscano strade
lastricate di parole,
di sospiri del vento
Perchè nulla va stretto in pugno
ma ogni cosa va lasciata andare
dove la notte sa dare spazio al sole
Dove solo un sorriso che sfiora
anche l’ultimo appiglio
possa renderti libero da quelle lacrime
che non avrei voluto lasciare impresse
come ultimo dono a chi non sa dimenticare
Quando sarà l’ultimo mio respiro
– fatemi morire in pace per piacere –
senza memoria e commemorazione
perchè in fondo nessuno sa davvero
contare i miei passi, e conoscere
oltre ogni tempo chi sono e chi ero
No one knows
the color of the time,
which step will be
to take me away:
where it remains only silence
I ask only
not to remember
speeches of the past
not affect anything
because all that was
can be deleted
I ask you
that after drying
Also the last tear
do not build roads
paved with words,
sighs of wind
Because nothing goes tight fist
but everything should be left to go
where the night can give way to sunshine
Where only a smile that touches
also the last toehold
can set you free from those tears
I did not want to leave imprinted
as a final gift to those who can not forget
When will it be my last breath
– Let me die in peace for pleasure –
without memory and commemoration
because basically no one really knows
counting my steps, and know
over all time who I am and who I was
Let me then …
… Only silence!
I Big Star sono un gruppo statunitense indicato come progenitore del power pop. La formazione nasce a Memphis, nel 1971, da un’idea di Alex Chilton (1950–2010), già voce nei Box Tops, e Chris Bell (1951 – 1978).
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.
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.
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, as the “quintessential American power pop band” and “one of the most mythic and influential cult acts in all of rock & roll”.
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, 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. 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. The band remained active, performing tours in Europe and Japan, 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. Hummel, who was diagnosed with cancer in 2008, died on July 19, 2010. These deaths left Stephens as the sole surviving founding member.