Bouse séchée

Bouse séchée – Marco Valdo M.I. – 2010
Cycle du Cahier ligné – 101

Bouse séchée est la cent et unième chanson du Cycle du Cahier ligné, constitué d'éléments tirés du Quaderno a Cancelli de Carlo Levi.

Excuse-moi, Marco Valdo M.I. mon ami, mais je trouve encore une fois que le titre de ta canzone est bien étrange.

Lucien l'âne aux grandes dents et aux sabots d'ébène, laisse-moi te dire le pourquoi du comment de ce titre étrange en effet. Le fait est que lorsque je fais une chanson, je ne sais généralement pas au départ comment elle sera, quels seront les mots qui la composeront, ni dans quel ordre, ni dans quelle combinaison. Le sens-même de la chanson change parfois au cours de la confection. La chanson – et cela tu le sais – est une sorte d'étrange alchimie, c'est une création, elle est (souvent) expérimentale. Quelquefois, elle démarre sur un mot, quelque fois sur une... (continuer)

[1996]
Letra y música de Carlos Javier Crespo Goñi
Album: Calle Mayor

[1969]
Letra y Musica de Daniel Viglietti
Interpretata da Víctor Jara nell'album Pongo en tus manos abiertas

Interpretata dall'autore in Canciones Para Mi America - Le Chant du Monde LDX 7 4362 - 1973

Sono seimila anni che l'uomo vive felice facendo la guerra....!
Ma il ritmo e il resto della canzone mi sembra che dicano il contrario.
Vedete voi. Dall'album "O Bidu – Silêncio no Brooklyn" (del 1967)

[1955]
Album “Talking Union and Other Union Songs”, Folkways Records.
Con Pete Seeger, The Almanac Singers e The Song Swappers

Canzone (nota anche con il diverso titolo di "I Don't Want Your Millions, Mr.") scritta nel 1932 da Jim Garland, un giovane minatore di Harlan County, Kentucky, che l’anno precedente aveva perso, come molti altri, il posto di lavoro perché aveva cercato di organizzarsi in sindacato con i compagni, cosa che la compagnia mineraria aveva provato ad impedire con la forza. Il riferimento storico è lo stesso della più celebre Which Side Are You On?.

[1975]
Album “Yankee Go Home: Songs of Protest Against American Imperialism”, Folkways Records.



La canzone racconta di come alla fine dell’800 la stampa americana, in mano al magnate Hearst, fu il motore propulsore della guerra contro la Spagna per il controllo di Cuba e delle Filippine. Con la scusa “umanitaria”di voler sottrarre quei popoli alla ferocia dei dominatori spagnoli, il presidente McKinley ed il suo futuro successore, Theodore Roosevelt, in realtà non fecero altro che definire una volta per tutte il nascente imperialismo nord-americano. Ma non sarebbero riusciti ad avere l’opinione pubblica dalla loro parte senza le campagne di stampa di Hearst e di Joseph Pulitzer, l’altro “grande vecchio” dell’informazione a stelle e strisce dell’epoca.
Come anche oggi, anche qui, sono i media asserviti ai potenti di turno a creare la cosiddetta “opinione pubblica” e ad ingannare il popolo... (continuer)

[1975]
Album “Yankee Go Home: Songs of Protest Against American Imperialism”, Folkways Records.



American missionaries, in their zeal to bring the benefits of Christianity to the entire world, first
arrived in Hawaii in the 1830's. They had been preceeded for a number of years by New England whalers, and followed shortly by many businessmen. By 1849, when France appeared on the verge of annexing the Islands, American involvement in Hawaii was so strong that the government of the United States informed the French that it would "Never with indifference allow them to pass under dominion or exclusive control of any other power." By 1854 Secretary of State Marcy negotiated a treaty of annexation with the Hawaiian government, but it was aborted by fierce British opposition.

By 1892, the situation had changed. American investments in the Islands had increased and the price of sugar, Hawail'a... (continuer)

[1968]
Words and music by Bernice Johnson Reagon.
Album “Give Your Hands to Struggle”, Paredon Records.
Ristampato nel 1997 su etichetta Smithsonian Folkways Recordings.

“The "circle" song came to be in 1968, when I began to want the Vietnamese people to win. I began to see the Vietnamese struggle in relationship to our freedom struggle. It is one of my first efforts at addressing the fact that there were people outside of Albany, Georgia. who were also being squeezed to death because their space, too, was being defined by a minuscule but powerful group whose primary aim was their own profit rather than the meeting of human needs. Looking back, I can see that when I first tried to draw the human family together, I wrote lyrics naming people by physical traits - humbling to look back at yourself…”
(nota introduttiva al brano dal libretto che accompagna l’album)

[1975]
Words and music by Bernice Johnson Reagon.
Album “Give Your Hands to Struggle”, Paredon Records.
Ristampato nel 1997 su etichetta Smithsonian Folkways Recordings.

“The end of the long liberation struggle by the Vietnamese people – first against the French and then against an international military force led by my country, crippling the lives of so many young people in my age group - represents a decisive shift of power and direction in the international world climate. Developing my warrior experience as a fighter in a Movement committed to non-violence and at the same time finding myself in support of Vietnamese liberation represented another expansion for me: I would not tell other peoples how they should shape their struggle for justice and selfdetermination. "New World Coming" was my way of saying "Amen” to the idea that the big and the mighty are often wrong and sometimes do not win.”
(nota introduttiva al brano dal libretto che accompagna l’album)

[1993]
Letra y música de Carlos Cano
Álbum: Forma De Ser [1994]


Lucrecia Pérez fue una inmigrante Dominicana, vilmente asesinada el 13 de noviembre de 1992 en Madrid por un guardia civil neonazi en compañía de varios skinheads, - fue reconocido como el primer asesinato por motivos racistas y xenófobos de España.
En los días anteriores al crimen como en otros lugares de Madrid se multiplicaban las pintas: "¡Fuera negros!", "¡Inmigrantes=maleantes!","¡Ni negros, ni judíos!", "¡Resistencia, mata negros!" Asimismo, unos panfletos corrían por Madrid con estas leyendas: "¡Españoles!
¡Nuestra patria está en grave peligro! Millones de invasores intentan forzar nuestra frontera [...] estamos en PIE DE GUERRA. Cinco millones de moros [...] veinte millones de extranjeros penetrarán en España antes de 2000. "HAY QUE ACTUAR AHORA MISMO, MAÑANA SERÁ TARDE".
En este contexto social y político ¿Por... (continuer)

Symphony No. 1 is a very dark piece of music that depicts the allied firebombings over Dresden, Germany during World War II. The piece itself is four movements long.

In Movement I, the mood of the piece is established with the impending disaster upon the small city.

Movement II is the seeding of the bomb targets. It depicts the fury of the bombing.

Movement III is a quiet mood depicting the religious and artistic heritage of Dresden. The movement is also looked ipon as a silent prayer by refugees within the city before the attack.

Movement IV, the final movement is a very unique movement as it is the recreation of the firebombing and the resulting firestorms of Dresden that were the death of nearly 50,000 people.

The piece ends climatically, then softens down as a very quiet flute solo ends the Symphony.

C

Comme si – Marco Valdo M.I. – 2010
Cycle du Cahier ligné – 100

Comme si est la centième chanson du Cycle du Cahier ligné, constitué d'éléments tirés du Quaderno a Cancelli de Carlo Levi.

Centième, la centième canzone, dit Lucien l'âne en rigolant, tu t'imagines. Cela dit, quand donc cela finira-t-il ?

Très prochainement, mon ami Lucien l'âne. Très prochainement. Il y aura donc un peu plus de cent canzones. Ce n'est pas là un choix délibéré, mais bien le résultat de la lecture systématique de la traduction française du Cahier ligné de Carlo Levi; traduction, je te rassure, que j'ai faite de mes propres mains et de mes propres nuits. Il y a fallu au moins deux ans... Je te rappelle que canzone après canzone, ce rêve éveillé du prisonnier-blessé-guerrier a suivi les méandres de cet étrange livre, qui est à la fois un roman et tout autre chose; un immense pamphlet contre l'enfermement.... (continuer)

[1977]

[1971]
Letra: Adaptación de un poema de Bertolt Brecht (Gegen den Krieg)
Música: Manolo Díaz
Álbum: Apocalipsis

Testo ripreso da il deposito

Parole di Margot su musica di Sergio Liberovici

[2010]
Album:Magnagrecia

Testo: Salvatore de Siena
Musica: Salvatore de Siena, Amerigo Sirianni, Mimmo Crudo

[2010]
Album:Magnagrecia

Testo: Salvatore de Siena
Musica: Salvatore de Siena, Amerigo Sirianni, Mimmo Crudo
Con Claudio Lolli

[2010]
Album:Magnagrecia

Testo: Salvatore de Siena
Musica: Salvatore de Siena, Amerigo Sirianni, Mimmo Crudo

[2010]
Album:Magnagrecia

Testo: Salvatore de Siena
Musica: Salvatore de Siena, Amerigo Sirianni, Mimmo Crudo

[2007]
Album: Too Hot for TV

[2010]
Album:Magnagrecia

Testo: Salvatore De Siena
Musica: Salvatore De Siena, Amerigo Sirianni, Mimmo Crudo

Finalista Voci per la libertà 2011

[2008]
Album :Dammene ancora

[1996]
Album: Comu Na Petra

[2004]
Álbum: Sinónimo de ofender

[2004]
Album: Libre vs Démocratie Fasciste (EP)

[2006]

These Colours Don't Run, frase che fu pronunciata da Bruce Dickinson durante l'ozzfest dell'anno precedente, è il secondo brano di "A Matter of Life and Death" il quattordicesimo album della band. L'album è stato pubblicato il 28 agosto 2006, (fonte: wikipedia)