“LA BOMBA IN TESTA” (ITALY)
“And I was counting the edges around the stamp,
I was saying Thank You God, Merry Christmas,
I was feeling normal,
And yet the years in my life at age 30,
Were longer than theirs,
But it doesn’t matter now, I resume working.
They were imagining penance,
To the ungrateful who supported French welfare,
And not one had the thought,
To publicly ostracize them,
One May, to Italy.
And my old face worn with wisdom,
Repeated “Do not do harm to anyone”
And I feel unusual,
And I am surprised,
To compare myself with them,
and now it is late, now I go back to work.
They risked their life because of one man,
They had a purpose,
Ready to endure the pain,
And the purpose was not martyrdom,
But to revolt.
Who knows what controls,
The desire in your own temptations,
What averts intrusion,
Of our hearts,
Gradually turning away from everyone,
And before complete solitude,
With the fear of being unemployed.
Risk my life for freedom on the streets,
Forget the path leading home,
I shall, as my duty,
To be in solidarity,
Without pretending to be innocent.
I try to repeat myself to them,
And when they began to understand,
I began to be left behind,
Because their cause was more accurate,
I don’t know the game’s rules,
I don’t trust myself so fearlessly.
Now there is no time for comrades,
Because the fuse only needs one person,
To light the flame,
Stagnant results, stagnant inaccuracy.
And the explosive breaks, cuts, rummage
Through the hosts of a masquerade ball,
That I invited myself to,
To dust for finger prints of who is to blame,
Behind each eloquent masque,
And to be merciless for the first time, with no shame.”
FABRIZIO DE ANDRE
The radical songwriter-poet has roots in Liguria, a narrow slice of land in Northern Italy, east of France, where he was born into a family of middle-class status and raised with anti-fascist sentiment in 1940. Growing up without a sugarcoated view of life, de Andre was inspired by the words of Bob Dylan, American folk singer, and George Brassens, the famous French singer/songwriter, who also wrote lyrics that were controversial to few, but realistic to most, including Fabrizio de Andre. By the 1960’s, he released one blasphemous album followed by another concept album based on Edmar Lee Masters’ Spoon River Anthology exposing hypocrisy in all facets of society. In 1979, de Andre resided in the island of Sardinia, to the west of Italy, and was kidnapped and taken for a ransom that was never paid upon his release of detachment of society from the Supramonte mountains. In fact, at the trial of those who held him hostage, it was noted that he said, “They were the real prisoners, not I.” This experience led him to compose his Sardinian inspired album in 1981, and three years later, one of his most acclaimed albums in his native tongue, Genoese. This dialect is derived from the central region of Liguria, Genoa, where he was born. He was a master of linking people together worldwide and his music is the proof, whether it was the revolutionary atmosphere in the ’60’s or keeping indigenous languages alive.He was diagnosed with cancer and died in 1999.
Dating back to the Bronze Age, the island of Sardinia can trace its history to ancient civilization which highly influenced Sardinian culture. The juniper coated island has preserved most of its pure history and signs of the Nuraghe villages are vitalized. There are cuiles or huts that resemble heaps, made by wood or stone that housed the generations of indigenous people. Interestingly enough, the Sardinian word for heap is nurra, which has been connected to the named civilization, iconically known for the cuiles. Even the Sardinian language dates back to ancient Latin and can be found to be very similar, though the Romans provided the native tongue around 240B.C. By the 1700’s, Italian became the primarily spoken language and Sardinian was demeaned, but today there are still over one million speakers of the historic language. Nuragic villages were also known for their water collection systems during 1500B.C. where in the city of Tiscali, cave walls were strained for the moisture. The Supramonte mountains also lie in this enchantment of an island and it is no wonder that the poet of Sardinia, Sebastiano Satta, constantly wrote of the Monte Corrasi, the highest peak in the range at 1463m. Satta was a 19th century poet inspired by Italy’s Giosue Alessandro Michele Carducci. He was the first Italian to be awared a Nobel Prize in Literature as the country’s radical anti-clerical poet from the 1800’s.’
By Neda Shahram