A Taste Of Honey

Herb Alpert & The Tijuana Brass folks! Do you know this song? It’s super famous!

And I know why I know it! Born and raised in Italy a couldn’t not know the “Tutto il calcio minuto per minuto” theme song!

And that’s where where the band name comes from:

During a visit to TijuanaMexico, Alpert happened to hear a mariachi band while attending a bullfight. Following the experience, Alpert recalled that he was inspired to find a way to express musically what he felt while watching the wild responses of the crowd, and hearing the brass musicians introducing each new event with rousing fanfare.

His style made me thinking of Tarantino’s movies… look what I’ve found!

Yes, it’s a joke.. but damn cool!



I have to fully agree with this review

“Ghostwriter,” which is one of the best beats that my ears have ever heard…

can’t stop playing it over and over! So simple.. so powerful!

and, as far as I know, this all come from sampling.. slicing, cutting and putting together again small pieces of known songs. Samples list for Ghostwriter has:

can you tell which part of this was used for it?

I’ll see you in my dreams

Gypsy Jazz tonight, with the incredible Django Reinhardt and a Jazz standard.. “I’ll see you in my dreams“.

Nearly everybody have played this song, but not quite Django did. I don’t know how it happened, but I fell in love with this guy the very first time I heard him playing. It is not just technique, it’s the groove he puts in the music. Something that it is simply not reproducible.

I’d like you to enjoy another version of the same song…

Dire Straits’ lead guitarist Mark Knopfler and the amazing Chet Atkins playing together, am I dreaming?!

I don’t know where you are, or what time it is when you will be reading this.. but I’ll see you in my dreams.

Let’s call the whole thing off

Or not? Well it seems just what Louis and Ella are wondering about in this jazz standard, “Let’s call the whole thing off”.

But oh! If we call the whole thing off,
Then we must part.
And oh! If we ever part,
Then that might break my heart!
So, if you like pajamas and I like pajahmas,
I’ll wear pajamas and give up pajahmas.
For we know we need each other,
So we better call the calling off off.
Let’s call the whole thing off!

Jazz standard, as I said, written in 1937 by George and Ira Gershwin for the film Shall We Dance. First Louis and Ella’s incredible voices and right after some roller skating by Fred Astaire and Ginger Rogers.

Maple Leaf Rag

A classic tonight! Maple Leaf Rag by Scott Joplin. Ragtime folks!

A 1899 release that comes to our days as it was written yesterday. Played with every instrument and by a plethora of musicians, but every time you hear this song it sings like brand new. If you don’t know of what I’m talking about here we go with the original version:

But, I’d like you to hear this live version by Stefano Bollani, one of the best jazz player around.

He first plays a slightly jazzed version of the song and then mimics an Italian songwriter called Enzo Jannacci. As you may notice from the link, Jannacci died just a month ago, this is also a small tribute that I like to give to him. Thanks Enzo. And thanks Stefano.

Walking on a Dream

How can you stand still with a rhythm like this?!

Empire Of The Sun are an Australian electronic music duo.Walking on a Dream was part of their debut album back in 2008.

We are always running
For the thrill of it, thrill of it
Always pushing up the hill
Searching for the thrill of it

That’s pretty much what I call life. Always something to explore, new people to meet, places to see.. always running, because time runs fast.

Oh! And look at the album cover!

Something in between Indiana Jones and Star Wars.. love it!

I wish I was the Moon

Surely appropriate for a late night like this. The moon is gone, it’s less than an half moon actually, but it’s always there.

And Neko Case sings…


She is from Virginia, from some Air Force base down there (as she says). And she is just rock!

And now, here I am, humbled before you dear readers, begging your attention from such things as reality television and Wendy’s bacon cheeseburgers so that you might notice my rock band.

Live performance? Here we go!

Oh my God that steel guitar! Makes me cry.

… and I wish I was the Moon, tonight.

Non solo terminologia

Quelle volte in cui qualcuno trova le parole e la documentazione giusta per affermare nuovamente (se ce ne fosse ancora bisogno) un diritto fondamentale come quello all’istruzione pubblica.

Nel Manifesto a favore del sistema pubblico integrato la parola diritto non compare neanche una volta. L’istruzione è un investimento in buona sostanza privato il cui fine non è il pieno sviluppo della personalità umana ma “lo sviluppo umano integrale”. “Investimento” vs. “diritto”, dunque, e “pieno sviluppo della persona umana” vs. “sviluppo umano integrale”: pare una questione terminologica, ma le differenze sono dirimenti. Il concetto di istruzione come investimento può essere fatto risalire agli anni Sessanta quando la American Economics Association tiene la prima conferenza di Education Economics, destinata a mutare il lessico e le finalità dell’istruzione negli anni a venire. Inaugurata da T.W. Schultz e G. Becker, allievo di Milton Friedman e teorico del concetto di capitale umano, la Economics of education inserisce l’istruzione all’interno di uno schema neoclassico di costi e benefici ponendo le basi teoriche affinché essa venisse considerata non più come una spesa sociale derivante dalla responsabilità collettiva, bensì come un investimento razionale che dipende da una valutazione di opportunità. LaEconomics of education rompe con la tradizione illuminista fino ad allora dominante. Era stato Condorcet a definire l’istruzione come una responsabilità pubblica. Il potere pubblico deve assicurare l’universalità e la gratuità dell’istruzione a ogni suo livello, scriveva Condorcet, in quanto essa rappresenta il fondamento del vivere collettivo. In quanto tale, essa non può essere affidata all’interesse individuale né a una valutazione di opportunità contingente.

La Economics of education introduce una nuova ratio con cui pensare l’istruzione. L’istruzione non è più un diritto universale inalienabile, come sancito dalla Dichiarazione Universale dei Diritti dell’Uomo del 1948, o finalizzato alla sovranità collettiva e al perfezionamento dell’umanità. E’ un investimento che dipende da una valutazione razionale di costi e benefici.

L’articolo completo è di Francesca Coin ed è stato pubblicato come parte dello speciale on-line di MicroMega sul referendum del 26 maggio a Bologna riguardante i finanziamenti alla scuola pubblica.

La scuola deve essere pubblica!

..i diritti o sono universali o non sono diritti; e se sono universali allora possono essere esercitati solo superando gli elementi di discriminazione, di esclusività, di privilegio. Ora, fino a prova contraria, una scuola che applichi vincoli di censo o di confessione religiosa non è una scuola inclusiva, ma esclusiva. È cioè una scuola che non può riconoscere l’istruzione come diritto universale, ma tutt’al più la libertà di scelta del modello d’istruzione che si preferisce.

Scrivono così i Wu Ming su Internazionale on-line a proposito del referendum per i finanziamenti alla scuola pubblica/privata che si terrà a Bologna il prossimo 26 maggio. Articolo molto interessante, e pienamente condivisibile. Da leggere assolutamente!

Skinny Love

Bon Iver (pronounced: bohn eevair; French for “good winter” and spelled wrong on purpose) indie folk group tonight sings Skinny Love. It was their debut single in 2008 and it was also a big hit (it seems everywhere except Italy), used as soundtrack for some tv series.

Here a live version on “Late Show with David Letterman”…

Pretty cool huh?! He plays a steel guitar (good old country blues…) together with three drummers!

I don’t quite understand the lyrics, but I love this song. Can keep listening to it over and over, like a mantra…

Who will love you?
Who will fight?
Who will fall far behind?
Ooh, ooh

Ahahhh! A skim to their web site gives more insights…

Vernon moved to a remote cabin in the woods of Northwestern Wisconsin at the onset of winter. He lived there alone for three months, filling his days with wood splitting and other chores around the land. This solitary time slowly began feeding a bold, uninhibited new musical focus. The days slowly evolved into nights filled with twelve-hour recording blocks, breaking only for trips on the tractor into the pines to saw and haul firewood, or for frozen sunrises high up a deer stand. All of his personal trouble, lack of perspective, heartache, longing, love, loss and guilt that had been stock piled over the course of the past six years, was suddenly purged into the form of song.