Streets of Minneapolis [traduzione in italiano]
In the meantime, let's get ready to welcome the glorious ICE patriots to our cheerful Milan-Cortina Winter Olympic Games, to which they have self-invited themselves with the cowardly silence of our waiter-like government.
 
Icarus – Oregon (Ralph Towner, composer)
Few would have noticed anyway, as there are things that are not—after all and luckily—for everyone...
But leaving on the same day as the very famous tailor really is a way to slip away unnoticed.
And for us, who dress however we can, we have to bid him farewell in a whisper.
 
I Called Him Morgan | Trailer | New Release
"Maybe you don't know it, but this is love too"
 
New Year's Eve's the Loneliest Night of the Year
Joy!!
....Best wishes, in any case.
 
Natale Di Merda - spaziobianco But why are we celebrating the birthday of someone we don't even know? Happy birthday anyway.
 
Prima di continuare su YouTube
Because I am someone who looks ahead...
 
Valentine
Teo Macero, Raymond Scott and Joe Meek are the Trinity, and people like Phil Spector, Brian Eno, George Martin, DJ Shadow... are their disciples.
 
Requiem
Beauty will not save the world, it will only help us bear it better...
 
NAPOLI CENTRALE - CAMPAGNA
Hi Gèm, and sorry for the delay...
 
The Buccaneers
Jack DeJohnette is gone, in a deafening silence... and yet he was certainly not just a bit player.
Here he is with Surman on one of my favorite "new thing" (jazz is a bit too narrow) records.
Goodbye, picchiatamburi.
 
The Line
So, all of a sudden... farewell black soul.
 
"In cerca di Mr. Goodbar", 1977. Esposizione
Because you weren’t “just” Allen’s muse, because it was so easy to fall in love with you, we’ll miss you Diane.
 
'O Nonno Mio
O ssaje Gèm: the night has to pass
 
Prima di continuare su YouTube
I just can't find the words to comment on it...
 
Ingrandisci questa immagine
Knorkator are real stars! They even have a review on DeB!
 
Ingrandisci questa immagine
Mike Terry was an English artist and performer whom only cruel fate, for mysterious reasons, kept away from success.
Mike left us in 2016 and, I know for certain, Antony Hogarty and especially Elton John secretly breathed a sigh of relief...
 
Ingrandisci questa immagine
With religious-themed music, you always play it safe...
Here, moreover, there's even a (perhaps unintentionally?) provocative and suggestive title that, I know for sure, together with the charms of sweet Mary, won't leave you indifferent...
 
Ingrandisci questa immagine
So! Since, with the heat, #uglycovers are back in vogue, I—immodestly—consider myself one of the leading experts on the subject (and I’m ready to duel anyone who says otherwise...) am going to upload a slew of horrors that not even the beach photos of @[Dislocation] in a swimsuit could burn your eyes worse than this...
The first is a nu-metal record (which already says a lot in itself...) by a band, New Killer America, that RCA tried to push in the early 2000s, and the cover is the work of a certain Dan Winters and Tracy Boychuk (??), depicting the fingers of an RCA executive, one Lorin Finkelstein. Minkia!
 
Scott Walker - Farmer In The City (High Quality Audio)
Translating is always betraying
I’m bringing back (lucky you!) my little column of free and unfaithful translations (interpretations more than translations), language—even when it’s the one you were born with, by pure chance—is a barrier and communication is only a utopian desire; so take this stuff, which we call translation only for convenience, with a grain of salt.
I’ll end here (for now) with the most difficult and probably most clumsily executed translation attempt. Scott Walker is deliberately obscure by nature, and the theme dealt with is not one to handle lightly. But here are two of my most stubborn obsessions: Pier Paolo Pasolini (and his death) and Scott Walker (and his quest for invisibility). Walker’s text recalls one of Pasolini’s most intimate poems ("Uno dei tanti epiloghi") but does so in a deviant, intangible way. Too many passages remain obscure to me (what does the number 21 refer to? Perhaps to Ninetto Davoli’s age when he was drafted? Is the farmer in the city a metaphor for feeling out of place? Why the reference to Esau? The harness on the finger or the nail that withers... etc. etc.). I present it to you as is, in its impartiality and insufficiency, trusting in the benevolence of those who read it.
The piece is beautiful, though!
Scott Walker - A Farmer In The City
I hear 21, 21, 21? I’ll give you 21, 21, 21. I listen to 21, 21, 21? I will give you 21, 21, 21
Tonight it’s you who’s wrong, I am (like) a farmer in the city. The dark, threatening farmhouses against the sky and every night I have to ask myself why. The harness on the nail to the left keeps shriveling, shriveling. Higher above me, after...
Esau, Esau
I can’t trust a man from Rio, I might trust a man from Vigo but (certainly) I can’t trust a man from Ostia.
Hey, Ninetto, remember that dream? We talked about it so many times
I hear 21, 21, 21? I’ll give you 21, 21, 21. I listen to 21, 21, 21? I will give you 21, 21, 21
And if I’m not wrong we might try to look farm to farm. Dark farmhouses against our eyes and every night and I have to ask myself why. The harness on the nail to the left keeps shriveling, shriveling. Higher above me, after...
Esau, Esau
I can’t trust a man with this shirt and (then) I should trust a man with that shirt
but (of course) I can’t trust a man with a brain full of grass. Trust his long long ocular gas
And once I was a city dweller and never felt pressured pressured but I knew nothing about horses and nothing about the threshing machine
Paolo, will you take me with you? It was the trip of a lifetime
I perceive 21, 21, 21? I’ll give you 21, 21, 21. I hear 21, 21, 21? I’ll bring you 21, 21, 21. fissi:
 
The Pop Group - Justice
Translating is always betraying
I’m bringing back (lucky you!) my little series of free and unfaithful translations (more interpretations than translations). Language – even when it’s the one you were born with, purely by chance – is a barrier, and communication is just a utopian wish; so take this stuff, which we call translation just for convenience, with a grain of salt.

Mark Stewart left us too quietly, and The Pop Group isn’t celebrated as much as it deserves, in my opinion. A war machine of music and lyrics that leave a mark like sandpaper.
In this “Justice” they name names and cite exact circumstances, just to remind us that things like the shame of the Diaz school raid in Genoa are neither a one-off, nor an exception, nor, least of all, just an Italian thing.

The Pop Group - Justice
I wake up every day and watch my country. Even a blind man could see it: what you call justice (or order) is not justice to me. (Oh sure) Property must be protected. Better to call the police, a nice call to the accomplices.
Who killed Blair Peach? And what happened to the political prisoners caught in Southall and tried by sham courts? To a guy (I read) who had to have his testicles amputated after being kicked by the S.P.G.
Doesn’t seem like justice to me.
Have you heard what people are saying? You’ve got 2 years until the statute of limitations ends. Want to fight for Zimbabwe? Want to fight for Ireland? Soon it'll be just you and me.
Who watches the watchmen
Who watches the police
What happened at Red Lion Square? Who killed Kevin Gately? And Jimmy Kelly, arrested in Liverpool, who later died while in custody. And soon they'll send the army to crush the strikes. And then, they'll bring in their legal terrorists. Control the civil unrest. Ireland is their practical base. Control the civil unrest. Our Vietnam.
Who watches the watchmen
Who watches the police
Who... cieco:
 
Double Blind - War in Lebanon 2006 by Paolo Pellegrin. Song by Patti Smith
Patti Smith - Qana (London, 2006)
To translate is always to betray
I present to you again (lucky you!) my little column of free and unfaithful translations (interpretations more than translations), language - even when it is the one you were born with by pure chance - is a barrier and communication is only a utopian desire; so take this stuff, which we only call translation out of convenience, with the necessary grains of salt.
I always approach the texts of the inhabitants of the other half of the sky with caution; to the linguistic barrier is added my inadequacy towards them, and Patti Smith is, for me, in this sense a real challenge because, on top of everything else, her writing is rich in assonances and literary references that, evidently, I am not able to "mimic." A challenge, however, that I have always faced with brazen reverence. The text I offer you is from 2006 but - cursed times! - it could have been written today. The first video is subject to restrictions imposed by YouTube but it’s worth trying to watch it; if you don’t want to bother with access, then listen to this live version of the track from video no. 2.

Patti Smith - Qana
Israel’s practice of collective punishment is a war crime under the Geneva Convention; why has it been allowed to do this? Why do we allow it? Every year we send Israel 4 billion dollars in aid and weapons; we are paying for this devastation; the death of children, the country in ruins; Bush refused to impose a truce and now this massacre in Qana falls on us; Qana is considered by some to be the place of Jesus’ first miracle where he turned water into wine; there is no more wine flowing in Qana, only blood, blood.
Patti Smith
August 12, 2006
(Presentation of the piece by Smith herself)

In the village there is no one left, neither human beings nor stones. There is no one in the village, the children have left and a mother rocks herself trying to sleep. Bring it all down, make her cry.
The dead were curled up in strange poses.
Some had burial, others crawl outside. These screaming ruins are not the work of a child and a mother rocks herself trying to sleep. Bring it all down, make her cry.
The dead were curled up in strange poses.
Slumped dolls covered in mud, small, too small hands in the street and their chatter, a target of war. So much talking while the bombs fall, the Americans have created the new Middle East and meanwhile, that one, Rice, squawks.
The dead were curled up in strange poses.
Small bodies, small, too small bodies tied hands and feet and wrapped in plastic, arranged in the street
it is the new Middle East and meanwhile, that one, Rice, squawks.
The dead were curled up in strange poses.
Water into wine, wine into blood, ah, Qana, the miracle is love.
 
Gary Gilmore's Eyes
Barbed Wire Love

Translating is always betraying
I’m bringing back (lucky me!) my little series of free and unfaithful translations (more interpretations than translations); language—even when it’s the one you were born with by pure chance—is a barrier and communication is just a utopian desire; so take this stuff with a grain of salt as we only call it translation for convenience.
So, good @[DaniP] (who for me will always be the old Pinello!) asks, and I can’t refuse! Two not-so-easy texts, especially the second one which contains some practically untranslatable wordplays! I’ll try, but I’ll take even more liberties than usual...
A couple of notes just to add some curiosities: 1) Gary Gilmore (his story is online, if you don’t know it look it up) was allowed to choose his type of execution, firing squad or hanging—how humane are the Yankees! 2) When Stiffs sing “You set my arm alight,” any Irish person knows they’re referencing the ArmaLite arms factory that did big business with the IRA...

The Adverts - Gary Gilmore's Eyes
I'm lying in this hospital, nailed to the bed. A stethoscope listens to my heart, a hand holds my head. Now they remove the bandages, the light makes me flinch because the nurse is anxious (?), trembling with fear...
I’m looking through Gary Gilmore’s eyes.
The doctors avoid me (why?). I still see vaguely but I can hear the evening news on my headphones. A murderer was executed and donated his eyes to science. I’m locked up in a private ward. So it could be...
I’m looking through Gary Gilmore’s eyes.
I hit the lamp angrily and push my bed against the door. I close my eyes because I don’t want to look, but the eye receives the messages and sends them to the brain.
No guarantee that the stimuli must be perceived the same way...
When you look through Gary Gilmore’s eyes.
Now Gary doesn’t need his eyes to see. Gary and his eyes have separated by now.

Stiff Little Fingers - Barbed Wire Love
I met you in no man’s land, we walked hand in hand along the wire fence, hearts beating amid the bomb rubble. You give me love among the barbed wire, caught by love in a barbed enclosure
tangled in a barbed wire embrace I throw myself into this barbed wire love and the metal thorns tear my jeans
I fell in love, it was frighteningly beautiful, I was a prisoner but there was nothing perverse (nor risk of desertion)
and that night in that desolate yet vital land you laid bare our armaments. You give me love among the barbed wire, caught by love in a barbed enclosure, tangled in a barbed wire embrace I throw myself into this barbed wire love and the metal thorns tear my jeans
(Your breasts) like explosive traps made me blow up
 
Dead Kennedys - Kill the poor
Translating is always betraying
I’m presenting again (lucky me!) my little free and unfaithful translation column (more interpretations than translations), language – even when it’s the one you happen to have been born with – is a barrier and communication is just a utopian wish; so take this stuff, which we only call translation out of convenience, with a grain of salt.

The good @[imasoulman], speaking about Hüsker Dü, reminded us that punk (and its various derivatives & offshoots) wasn’t just about shouting, speed, and horrible haircuts but that beyond the breakneck pace there were often lyrics as well. People like Rollins Band, Clash, Fugazi, Crass, Minor Threat, Flux of Pink Indians and many others had a lot to say, like Jello Biafra who has always had a sharp tongue (and also a background of good reading, apparently. Here, for example, he quotes the as witty as little-known "A Modest Proposal" written by Swift in 1729)
Dead Kennedys - Kill the Poor
Once again we are messengers of Efficiency & Progress, right now that we have the neutron bomb. Which is nice, fast, clean and solves problems, frees you of too many enemies but without damaging property. Sure, it makes no sense in war but it works perfectly to clean up the problems at home
The sun shines, shines on this brave new day. No more taxes for public welfare, horrible slums burned in a flash of light, millions of unemployed suddenly wiped out. In the end we’ll have more space to do our own things. Tonight everything is ready to eliminate the miserable and the penniless—
Kill, kill, kill the poor
Kill, kill, kill the poor
Let’s kill them all tonight
Here pops the champagne: the crime rate is zeroed, you feel free again. Oh, life is a dream with you, Miss Pure White Trash and Jane Fonda, from the screens, have convinced liberals that everything is fine. So let’s get dressed up and dance all night while they eliminate, take out, kill all those bums
Kill, kill, kill the poor
Kill, kill, kill the poor
Let’s kill them all tonight
 
The Fugs-Doin` All Right
Translating is always betraying
I bring back (lucky me!) my little column of free and unfaithful translations (interpretations more than translations), language – even when it’s the one you happened to be born with – is a barrier and communication is only a utopian desire; so take this stuff, which we call translation just for convenience, with a grain of salt.

As the good @[ZiOn] didn’t fail to point out, the texts translated so far have been dripping with cheerfulness and good humor... Indeed, I tend to like the "heavy" ones but some things can also be said with mockery, like this text here:
The Fugs - Doin' All Right

I’m full of hairs sprouting around my nose and throat. I don’t feel like going to vote. If you met me on the street you’d start screaming “JESUS CHRIST!” But I go straight ahead on my path... I’m doing great
I’ll never go to Vietnam, I’d rather stay here fucking your mother. If you met me on the street you’d start screaming “JESUS CHRIST!” But I go straight ahead on my path... I’m doing great
When I’m out and about I meet people who look at me and hold their nose and then ask me: where do you scrounge up your money? (Tramp!) But I keep going straight and I don’t give a damn, I’m stoned anyway and full of pussy almost as much as a black guy.
And I’m fine
We have to love each other because we have to die (sweetheart), so tear off those panties and look me in the eyes. You’ll definitely recognize me, you can’t mistake me: I look a lot like Jesus Christ
I go straight ahead on my path... I’m doing great.
I’m full of hairs sprouting around my nose and throat. I don’t feel like going to vote. If you met me on the street you’d start screaming “JESUS CHRIST!” But I go straight ahead on my path... I’m doing great
And I go straight ahead on my path...
what are you doing tonight?
I go straight ahead on my path...
I’m doing damn fine qui: chiede: sbagliare:
 
The Pogues - Birmingham Six - HD Audio & Video Remaster
To translate is always to betray
I’m bringing back (lucky me!) my little column of free and unfaithful translations (more interpretations than translations), language - even when it’s the one you were born with, purely by chance - is a barrier and communication is only a utopian desire; so take with a grain of salt this stuff that we only call translation for convenience.

The "Birmingham Six" were six Irish citizens who, in 1975, were falsely accused, beaten, tortured, and eventually sentenced to life imprisonment for the attack, claimed by the IRA, on the Mulberry Bush and Tavern pubs in the town of Birmingham on November 21, 1974. They were released in 1991, and the conviction became an embarrassing case of injustice, since some evidence was ignored and mainly because they were kept in prison despite having nothing to do with the IRA.
A similar fate befell the "Guildford Four," who were imprisoned for 15 years.

The Pogues - Birmingham Six

There were six men in Birmingham, four in Guildford,
who were caught, tortured and framed by the law.
And the bastards even got promoted,
while those six are still stuck in prison just for being Irish, caught in the wrong place at the wrong time.
In Ireland, you end up in Maze prison, in England, they throw you somewhere and throw away the key.
God help you if you ever reach these shores,
because the cops need someone to drag behind that door.
And you count the years, first five, then ten,
while you grow old in an isolated hell,
in your stinking cell, around the prison yard.
From one wall to the other, and back again.
Cursed be the judges, the policemen, and the wardens
who tortured the innocent, falsely accused.
For the price of a promotion they sold justice.
May the judged be their judges when they rot in hell.
And you count the years, first five, then ten,
while you grow old in an isolated hell,
in your stinking cell, around the prison yard.
May these whores of the Empire lie awake in their sweaty beds
for having closed their eyes to the sins of their bosses.
Meanwhile in Ireland, eight or more men lie dead,
kicked and shot in the back of the head.
And you count the years, first five, then ten,
while you grow old in an isolated hell,
in your stinking cell, around the prison yard.
And you count the years, first five, then ten,
while you grow old in an isolated hell,
in your stinking cell, around the prison yard.
 
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