CONTINUUM ENCYCLOPEDIA OF POPULAR MUSIC OF THE WORLD VOLUME VII EUROPE EDITED BY JOHN SHEPHERD, DAVID HORN AND DAVE LAING Contents Introduction 1X xii Acknowledgments List of Contributors List of Maps Abbreviations xiii xvl xvii Baltlc States Jaak Ojakààr lawia Yanis Stundins Dave Laing t2 AIei Opekar 15 Ale§ Opekar Ale§ Opekar Tamiis Szdnyei and Jtilia l,evai 2t Tamiis Szdnyei Dave laing AIe§ Opekar 37 39 42 AIe§ Opekar 45 Belarus Cities: Maria Paula Survilla 48 48 Minsk Maria Paula Survilla Lithuania 2. 3 Estonia 8 Central Europe Czech Republic Cities: Brno Praha (Prague) Hungary Cities: Budapest Poland Slovakia 19 24 Cities: Btatislava 3. Eastern Europe Manana Akhmetili Dave Laing Mark Yoffe with Dave Laing Dave laing 52 53 56 57 72 Joel E. Rubin 74 Albania Jane Sugarman Bosnia-Herzegovina Vesna Andree Zaimovié 93 98 Georgia Moldova Russia Ukraine 4. Jewtsh Dlaspora Jewish Diaspora §. Southeastern Europe Contents Citìes: Bordeaux Lyon Marseille Gilbert Delor Gilbert Delor Alain-Philippe Durand 180 181 181 Paris OlivierJulien 183 Toulouse André J.M. Prévos 185 Disticts: Left Bank Montmartre Aymeric Pichevin Olivier Julien Germany 186 Peter Wicke r86 t87 Peter Wicke t92 Andy Bennett Michael Gratzke and Eberhard Spohd Christine Flender David Buckley Morten Michelsen 195 Cities: Berlin Frankfurt am Main Hamburg Kòln (Cologne) Mùnchen (Munich) Greenland Iceland Republic of Ireland 197 199 John O'Flynn 200 202 203 205 O'Flynn O'FIynn O'Flynn O'Flynn 214 217 217 Geshrr GuÒmundsson Cities: Cork Dublin Galway Limerick John John John John 2t3 Diaspora: Irish Diaspora Isle of Man Italy John O'Flynn 2t8 Fenella Crowe Bazin Paolo Prato 220 Franco Minganti with Paolo Prato 230 22t Regions; Central Italy Northern Italy Vincenzo Perna 23r Stefano Pogelli Stefano Pogelli 234 236 238 239 240 242 San Remo Roberto Agostini and Pierfrancesco Pacoda Simone Brogioni Paolo Prato Franco Fabbri with Luca Marconi Paolo Prato Francesco Adinolfo and Paolo Prato Paolo Prato Torino and Piemonte (Turin and Piedmont) Franz Coriasco 25t Sardegna (Sardinia) Southern Italy Cities: Bologna Firenze (Florence) Genova (Genoa) Milano (Milan) Napoli §aples) Roma (Rome) 243 247 250 Diaspora: Italian Diaspora Liechtenstein Luxembourg Francesco Malta Philip Ciantar 258 The Netherlands Lutgard Mutsaers 262 Adinolfi and Paolo Prato Dieter Ringli 252 256 Robert J. Sacre 257 Cities: Amsterdam Rotterdam s'Gravenhage (The Hague) Utrecht Norway Lutgard Mutsaers Lutgard Mutsaers Lutgard Mutsaers Lutgard Mutsaers Hans Weisethaunet and Odd Skàrberg 265 267 268 269 270 vii Italy Revival and Re-Creation. Scotland: University of Aberdeen. Caine, P.W. 7926. 'Manx Carvals and Their Wri- tes.' Mannin 2. Gill, W.H. 1896. Manx National Songs. London: Boosey and Co. Guard, Charles. 1980. The Mant National Songbook Volume 2.Isle of Man: Shearwater Press. (Includes examples from traditional and modern folk songs and the music hall.) Jerry, C.W.P. 1987. Kiaull Vannin. IsIe of Man: C.W.P. Jerry. Roads, F. 2OO5. Ye Boundless ReaLms of loy: Forty West Gallery Psalms, Hymns and Anthems ftom the Colby Manuscripts, Isle of Man. Isle of Man: Centre for Manx Studies. Discographical References Vannin.'Gibb Brothers Music/ BMG Music Pub' Int' Ltd. (PRS). 1998: USA. Wakeman, Rick. Heritage Saite. President Records Ltd. RWCD 16. 1993: Isle of Man. Bee Gees, The. 'Ellan Wood, Haydn. 'Mylecharaine.' British Light Music. Marco Polo. 1991: UK. Discography Caarfyn Cooidjagh. Cronnane. Manx Heritage Foundation CD2. 7999: IsLe of Man. Chieftains, The. Chieftains 10: Cotton-Eyed lo. Claddagh CC33. 1981: Ireland. Christian, Emma. Beneath the Twilight. Manx/Celtic Productions EMCD1. 1994: UK. Guard, Charles. The Secret Island. Manannan Music MMC4. 1993: lsle of Man. Mactullagh Vannin. Twisted Roors. Manx Heritage Foundation. 2004: lsle of Man. Mollag Band. Into the Tide. The Mollag Band MBCD3. 1997: Isle of Man. Manx Music. The Best That's In. Manx Heritage Foundation MHFCD1. 1996: lsle of Man. Spinners, T}:.e. More Folk at the Phil. Fontana Records STL 5234. 1965:UK. Stivell, Alan. E Langonned. Fontana 9707l5OO. 1975: UK. Vannin, Paitchyn. Fragments. Manx Heritage Foundation MHFCI. 1995: Isle of Man. FLNELLA CROWT, BAZIN , Italy Population 56,305,568 (2001) Italy is a peninsula lying in the Mediterranean Sea, bordering on Slovenia in the northeast, Austria and Switzerland in the north and France in the north- 22t 6. Western Europe of 776,347 sq miles (301,338 sq km), Italy has been a parliamentary republic since 1946. Its capital city is Roma (Rome), within which the Vatican State is located. Catholicism is the country's dominant religion. Italy as a unitary state was born only in 1861, after years of turmoil and conflict, beginning with the 1848 riots. Yet it took decades for Italy to build a 'national'identity, with one language, culture and music shared by the people who had previously been citizens of different kingdoms, counties and grand duchies for centuries. The linguistic unity of the country, for example, was accomplished only in the l95Os, largely due to television. As to music, the first national repertoire was opera, which had a history as a performance style long before the Kingdom of Italy was proclaimed: in the epoch of the Risorgimento, which culminated in the unity of the country, the patriotic music of Verdi and other distinguished operatic composers played a malor role in creating the ground for a national consciousness. Arias ar.d romanzas from operas and operettas were the prototype of modern canzone, and figures like Giuseppe Verdi, Gaetano Donizetti or Vincenzo Bellini were the first genuinely popular artists. In the same years another popular repertoire was west. With a surface area shaped by the armed forces. From the Risorgimento to World War I, which represented a climax of creativity, hundreds of songs were composed mostly by amateur musicians and poets - or appropriated from regional traditions and transformed into 'Italian' songs to be sung collectively. Although many of them kept their original dialects (especially those of mountain regions such as Veneto and Friuli, where most of the battles took place), the military war chants became ltaly's first national repertoire. None of the songs were written for artistic reasons: instead they were composed to be sung on the front, to raise the morale of those far from home and their loved ones. Their diffusion among the troops prompted the adoption of Italian as a nationaÌ language in a time when it was spoken only by the upper classes (the rest of the population speaking in dialect). This enormous corpus best known as canti degli alpini (Alpine songs) survived World War I, and entered World War II where it was partly modified by circumstance. It has remained alive in the numerous local and national festivals that occur every year, being the strongest oral tradition of the twentieth century. This repertoire gave birth to the two others: the repertoire of the mondariso (the female rice-weeders, enced 222 who experi- a sort of military life in being almost segregated far from home) and that of canti della Resistenza (songs of the Resistance), sung by the partisan movement during the Liberation war of 1943 to 1945, and then adopted by all ltalians. The songs of these repertoires have rural origins and have been kept alive to this day by the lower classes, circulated as folk songs in a time when orality no longer constitutes the dominant form of communication. Urban culture, on the other hand, developed its own song genres through the theater and cÌub turn of the twentieth century, Napoli (Naples) was the capital city of urban song, with its scenes. At the flourishing music industry (authors, publishers, performers) and its 'musicaÌ' people (many of its most appreciated composers were illitetate and did the poorest iobs). Moreover, Naples' proliferating café-chantants and music haÌls established the social foundations for what have long since become the most accepted singing styles of the country. People came to these performance venues not onìy to listen and watch, but also to participate in the artistic events by singing along and accompanying the musical evolutions on stage with noise making, whistling, handclapping and foot-tapping. The history of Italian popular music was for a long time the history of Neapolitan song, from which there emerged the distillates of operatic Del canto ar.d the rhythms and images of folklore, all of them transfigured by a bourgeois worldview. Though there are quite a few examples composed in Italian starting from the nineteenth century that 'Santa Lucia,' dated 1848, is the first Italian popular song), a regular production of songs in the national language began only towards the end of that century. Yet their quality and popularity rarely compared to those of Neapolitan song. Still, the circulation of Neapolitan song was limited to certain cities and audiences: it was performed in theaters and café-chantanfs and accessible only to those that could read sheet music. Only radio could reach the whole population, disregarding place and educational ]evel. So, it can be said that Italian popular music came to maturity only in the late 1920s helped by the advent of radio, although there are remarkable exceptions such as 'Ciribiribin,' published in 1898, the first Italian song to cross (some say over and become a international standard. Or 'Mattinata,' a romanza written in 19O4 by Leoncavallo (the composer of 'l pagliacci') especially for the gramophone, and recorded in the same year by Enrico Caruso. Italy Radio If opera had established the grammatical rules of modern conzone, radio fixed its commercial system. Beginning il 7924, public radio (first EIAR, then RAI from 1946) soon catalyzed popular music production in the country. It fostered the establishment of a homogeneous national popular music that little by little took over the regional folk repertoires and their dialects. Neapolitan lyricists, ior example, began to write in ItaÌian to serye the new anonymous public - which marked the end of classical Neapolitan song. In the early years, radio rvas strictly controlled by the fascist régime, which built a large following thanks to its programs, speakers and singers. The state required of its citizens a disciplined participation in the collective rituaÌs held on Saturdays, 'Fascist Saturday,'which involved the fascist youth movement Balilla. Thris movement imposed its utilitarian hymns and chants on the population. The hymns and chants were of scant artistic value, but were very functional in directing emotions. Apart from these official the state - through its MinCulPop (Ministry of Popular Culture) - promoted the use of popuÌar music as a way of escaping from daily occasions, It was this 'secular' music, not the political hymnody, that was to be kept alive. Radio quickly supplanted the popularity of cafdchantant and launched the first stars of canzone, who would perform live in the few studios available (first of a1l in Torino [Turin]) and also make records. The first recording artists had come from the golden world of opera. These included Enrico Caruso, Fernando De Lucia, Beniamino Gigli and life. 223 6. Western Europe Tito Schipa, who would record both extracts from operas and popular songs. The two latter performers, in particular, went on to enloy further popularity with the advent of sound movies ('talkies'). La canzone dell'amore (directed by Gennaro Righelli), released in 1930, was the first Italian sound movie and its signature tune 'Solo per te Lucia'became a big hit for Gigli. Radio, on the other hand, discovered singers that only in part were trained at the opera. Many of them had grown up listening to syncopated rhythms and exotic sounds. Alberto Rabagliati, for example, toured with Cuban band leader Ernesto Lecuona in the late 1920s before settling down in his homeland and paving the way for the Italian swing era. Natalino Otto was helped by Gene Krupa in New York, where he worked also with Joe Venuti, before returning to Genoa in 1935. These and other singers such as Ernesto Bonino, Gorni Kramer and the early Quartetto Cetra represented the new faces of Italian popular music, while other singers kept the bel canto tradition alive. During the fascist regime (7922-43) though, the so-called 'negroid' rhlthms were accepted only if their lyrics were tamed and innocuous. They often consisted of nonsense and onomatopeic verses that fitted well with the swinging drive of the big bands (e.g.'Ba-Ba-Baciami piccina,' by Alberto Rabagliati). A. Bixio and Bixio Cherubini were an outstanding songwriting team who composed Cesare many evergreens from the 1920s to the 1950s. In the 1920s and 1930s, one of the most frequently used lyric commonplaces was the reference to far and distant lands, in the form of Southern American, African and Far Eastern fantasies, 'hot women' and transgressive habits, often mixed with stereotypes and ancient preiudices. A cheap exoticism was common in music }l,alls, caféchantants and tabarin where one could see performances by divas such as Anita di Landa, Maria Campi and Anna Fougez, the first sex-symbol of rivista (rèvue). Within a couple of decades this exoticism became the favored terrain for parody and self-mocking, giving way to songs about Mexican (sic) calypso ('Caravan Petrol'), toreadors ('Torero'), Chicago gangsters ('ll dritto di Chicago'), black dancers ('El Negro Zumbon') and dumb gauchos ('Il gaucho appassionato'). If Carosone's 'Tu vuo'ffa l'americano' (1981) was popular in the jive revival of the 1990s, the internationally successful 'Banana Boat Song' by Harry Belafonte had its local answer with 'Pummarola Boat,' a parody song recorded by Quartetto Cetra in 1957 224 Qtummarola spaghetti). is Neapolitan for tomato sauce for Radio became a sounding box for the extraordinary desire to sing that caught on in the 1950s, after the launch of the San Remo Festival in 1951. This radio event (from 1953 aÌso on television) had an incredible impact: up to the early 1960s every little village, town or city from the AÌps to Sicilia (Sicill-t organized a song festival, no matter whether it had renowned singers or unknown amateurs. This was a mass craze, equaled only by the contemporaneous craze to appear on screen (when mass auditions would be held for a walk-on part in fiÌms br Visconti or Fellini). Talent scouting was the primary aim of these festivals, which also played a strategic role in attracting tourists: most of the festivals were dedicated to new songs in ItaÌian, but many were devoted to specific dialects and topics such as the Venetian landscape, religious songs, the mountain song, the seaside song, the camping song. The sporting character of such events can be recalled b1' such titles as the 'Olimpiadi della canzone di Roma' (the Olympics of the Songs of Rome). Some of these contests were also exported, such as the Festival della Canzone Italiana hosted in Paris (1954) b1' Maurice Chevalier, followed by similar occasions in Zagreb, Zùrich and Madrid. Others survived to the twenty-first century and still found fresh new talent for the music industry. One contest in particular is worth a mention since it represents the most important of its kind on an international scale: the Zecchino d'Oro (Golden Sequin, from the book Pinocchio), a song contest for children from four to 72 years old which was founded in 1959 and which became an international event from 1976. Out of this popular festival, organized by the Antoniano Friars in Bologna, an album was released each year. The festival's final sessions were broadcast on lelevision in many countries. However, the main song contests took place on radio, discovering professional talents who would then become famous. Indeed it was radio, rather than records, that brought fame to Claudio Villa, Nilla Pizzi, Carla Boni, Gino Latilla, Giorgio Consolini and many others who in the 1950s established the canon of traditional melodic song, made up of the typical ingredients of a Mediterranean culture: the rhetoric of nationalism, love songs, Catholicism, the cult of the mother, a sense of escapism and melancholy. Rhlthms were slowed down and orchestral afiangements echoed the timbres and attitudes of Hollywood film music. Italy From Tradition to Modernity This canon was challenged in the Ìate 1950s, thanks to a new generation of interpreters and singer-songu,,riters who had grown up listening to the Platters, Elvis Presley, jazz and the French tlnnsonniers. Some of them, such as Mina, Adriano Celentano and Tony Dallara, were defined as urlatori (shottters) for their singing style that broke rsith the mellow, confidential crooning of the meÌodic singers. Others broke through with songs they had written themselves, which was something almost unprecedented: Gino Paoli, Luigi Tenco, Giorgio Gaber, Enzo Jannacci, Fabrizio De André, Pilo Donaggio and Umberto Bindi were the first modern cantautori (singer-songwriters), appeaÌing to a young audience comprised mainly of students and intellectuals. Aside from the big figures and their popularity, in the late 1950s there developed a seminal experiment in art and political song by a colìective called Cantacronache that was based in Turin, that took inspiration from BertoÌt Brecht and Hans Eisler and that was made up of young .omposers, poets and writers such as Sergio Liberovici, Franco Amodei, Italo Calvino and Franco Fortini. However, the individual who summarized most of these new trends was the man who wrote and >ang the biggest Italian record of aÌl time: Domeniro Modugno. His 'Nel blu diplnto di blu,' better known as 'Volare,' won the San Remo F'estival of 1958 and soon afterwards topped many of the rvorld's charts, thanks aÌso to tens of cover versions, rshich in the end sold 22 million copies in total. The case of 'Volare' is a unique one for the history of Italian pop: along with its domestic success (at the top of the charts for fìve weeks and in the Top -10 for 16), the singer's recording topped the US charts for six weeks - from April to May 1958 - and stayed in the Top 40 for a total of 13 weeks, becoming the top song of the entire year. With the cover versions the fame of the song grew bigger and bigger: on 27 Jtrly, Billboard reviewed seven recordings of 'Volare' by Dean Martin (number 12 in the Unìted States, number 2 in the UK), NeÌson RiddÌe, Jesse Belvin, Alan Dale, Linda Ross and two Italians, Umberto Marcato and Modugno himseìf. In that r-ear, Domenico Modugno (also number 10 in the UK) won three Grammys, for Best MaIe Vocal Performance, Song of the Year and Record of the Year. Later came other cover versions, including Charlie Drake's (number 28 in the UK, 1958), Varino Marini and his Quartet's (number 13 in the UK, 1958), Bobby Rydell's (who took the song to numbet four in the United States in 1960) and A1 Martino's, who charted with it in 1975. In the 1960s, record sales experienced the first reaÌ 'boom,' thanks to the advent of 45 rpm singles and to a simultaneous increase in domestic expenditure (what historians call' miracolo economico,' the economic miracÌe). RCA, which in 1958 had opened its Italian branch in Rome (whereas the rest of the maior companies had settied in MiÌano [Milan]), was a leading company in a process that took ItaÌy (also in a musical sense) from being a peasant economy to one of the biggest industrial nations. The soundtrack of this transition was made up of new sounds and rhythms from abroad mingled with the continuing inclination to melody. Its protagonists were Rita Pavone, Gianni Morandi, Peppino di Capri, Edoardo Vianello and Caterina Caselli, plus the many bands that were born in the decade; these names represent the watershed between past and present, between traditional and modern Italian song. Most of these bands, such as Equipe 84, Rokes, Dik Dik, New Trolls and Camaleonti, started with cover versions of US, British and French hit songs. In contrast, a few Italian songs made an ìmpact abroad, for example, 'You're My World' ('IÌ mio mondo,' by Umberto Bindi) was a hit for Cilla Black (number one in the UK in 1964); 'You Don't Have 'Io Say You Love Me' ('Io che non vlvo,'by Pino Donaggio) was a hit for Dusty Springfield (number 4 in the UK and number 5 in the United States in 1965) and Elvis Presley (number 11 in the United States in 1970); 'Love Me Tonight' ('AIla fine della strada,' 1969) was a hit for Tom |ones (number 15 in the UK and the United States); 'My Little Lady' ('Non illuderti mai,' 1,967) a hit for the Tremeloes (number 6 in the UK); and'Hals As Nice' ('I1 paradiso,' 1968) by Lucio Battisti was covered by the Amen Corner. In the mid-1960s, the San Remo Festival of Canzone ltaliana experienced its most internationaÌ phase by incÌuding a legion of foreign artists who took an active part in the competition. These artists sang new songs specially written by the most acclaimed writers and composers of Italian popuìar music in ItaÌian and in duets with Italian singers. Among the artists who participated were Frankie Laine, Ben E. King, Los Hermanos Rigual, Pauì Anka, Connie Francis, Petuia Clark, the Yardbirds, FranEoise Hardy, the Hollies, Marianne Faithfull, Sonny and Cher, Dionne Warwick, Wilson Pickett, Eartha Kitt, Shirley Bassey, Louis Armstrong, Stevie Wonder and Mary Hopkin. The list was impressive, and gives an idea of the extent to which Italy was 225 6. Western Europe recognized by the global music business. The five contests from 1964 to 7969 were perceived essen- tially as a television show and constituted an interesting experiment in linguistic and musicaÌ exchange that tested and questioned some central issues of pop culture, such as the relationship between center and periphery, exoticism and national identity and irony and romance. The canzone d'autore A canzone d'autore (literally, author's song) differs from an ordinary song in the high quality of its lyrics and its inclination to promote a message of protest and rebellion, but also in its ability to offer an analysis of feelings and, in a broader sense, a different perspective on life. Canzone d'autore has been to traditional song in Italy what rock has been to pop in the Anglo-American world. The first wave of cantautori occurred between the late 1950s and the early 1960s, but most had only a cult following. Only on a few and rare occasions did a composed song by Gino Paoli (e.g., 'Il cielo in una stanza') or Fabrizio De André (e.g., 'La canzone di Marinelìa') become a big hit, thanks to Mina's recording of it, whereas the author's version had a minor impact. In the early 1970s, the situation changed with the arrival of a new wave ol cantautori led by Lucio Battisti, Paolo Conte, Francesco De Gregori, Antonello Venditti, Riccardo Cocciante, Francesco Guccini, Lucio Dalla, Claudio Baglioni, Franco Battiato, Edoardo Bennato, Angelo Branduardi, Renato Zero and many others. These artists helped raise the level of Italian song from mere entertainment to the sphere of art and poetry. The 1970s in Italy was a time of the strong politicization of music and culture, where concerts and festivals organized by left movements and 'free' radio stations which started to broadcast in 1975 thanks frequencies - often ended up as rallies and riots under such slogans as 'riprendiamoci la musica' (let's take music back) and 'Ia musica é nostra, non si paga' (music belong to us, we won't pay). In this context, music became one of the favorite means of expressing the utopian and political desires of a mostly middle class youth to the liberalization of radio audience. Many cantaufori found themselves charged with epochal responsibilities, and their careers developed out of thousands of public debates held in concert venues, in the press and on radio. There were two strands of development: the 'compromised' one that had contracts with majors (mostly RCA) and the more politicaÌ one, whose radical attitude led them to perform only in 226 left circles such as the Festival dell'Unità (the openair festival organized by the Communist Party) and in the more informal meetings organized by the extreme left. This second, minority, trend - which created a more 'artisan music,' but which also was more aware of 'authentic' folklore - included. among others, Paolo Pietrangeli, Ivan DeÌla Mea and Giovanna Marini, all members of I/ Nlorrr Canzoniere ltaliano. Formed in 1962 as a magazine dealing with folk and subaltern cultures by scholars Gianni Bosio and Roberto Leydi, Il Nuovo Canzoniert Italiano soon launched a label (l Dischi del Sole) and a small publishing house, promoting shows such a-: the seminal 'Bella Ciao,' presented at the Spoleto Festival in 1964, which marked the birth of the Italian folk revival. This §pe of political song faded away in the 19BOs, whereas the more 'commercial' cantautori not onìy survived but became best-selling stars. These cantautori were perceived as elder brothers, private confessors and political leaders. They were both loved and criticized. IdoÌs such as Lucio Battisti (and his lyricist Mogol), Fabrizio De André and Francesco Guccini provided a new song repertoire for any teenager able to pick the guitar and/or sing along: hundreds of new songs suitable for socializing on the school bus, on a train ride, at a beach party. These songs continued to represent the core of an ideal, national repertoire in the twent\first century. Due to its emphasis on lyrics more than music, only a few artists of this genre became well known outside Italy. The most remarkable were Paolo Conte and Riccardo Cocciante, who became bigger stars in France than in Italy, and Angelo Branduardi who made his name in Central Europe. Rock Rock has never fully penetrated Italian culture. Once David Bowie said to an interviewer that ryou (speaking of Mediterranean countries like France, Spain and Italy) don't need rock music, you've got the family.'The birth of a domestic rock on a more significant scale dates from the early 1970s. At that time, many pop and cover bands which had formed in the 1960s turned to progressive rock and started to mix electronic, avant-garde, iazz arld 'ethnic' music styles: among the most original were Stormy Six, New frolls, Banco del Mutuo Soccorso, Premiata Forneria Marconi and Area, with the extraordinary vocal qualities of Demetrio Stratos, who was trained to sing two notes at the same time and was at home both with R&B and John Cage's vocal acrobatics. Following the main international trends, in the second haÌf of the decade there Italy developed an Italian punk movement. As to the first half of the decade, the only significant original contribution came from a group called Skiantos and its leader Roberto 'Freak' Antoni, a contribution deeply rooted in the political, ironical environment that gave birth to the 'Autonomia' movement in Bologna. This movement paved the way for'rock demenziale' (zany rock), a development that remained a presence in Italian popular music into the twenty-first centuly, above all in the music of the seminal group EIio e le Storie Tese. The most enduring rock acts of the 1980s and 1990s - when heavy sounds were out of fashion - were the group Litfiba and their leader (now a solo artist) Piero Pelù, as well as Luciano Ligabue and Gianna Nannini, but the man who has best embodied all of rock's energy and clichès is Vasco Rossi, who has been on stage since 1982. The Independent Music Veeting is an important show and fair based in Faenza (Emilia-Romagna) that attracts fans, musicians and industry people from all over Europe every year. Two other festivals are devoted to 'street musicians': the On the Road Festival, held in Pelago, near Firenze (Florence), and the Buskers' Festival held in Ferrara (Emilia-Romagna). Among the most interesting acts to emerge in the 1990s were Mau Mau, Subsonica, the rapper Frankie HNRG, Almamegretta and 99 Posse. Cosmopolitan Pop and Dance With the advent of cheap do-it-yourself technologies in the 1980s, Italian pop tried to sound the 1970s by the Italian born Eurodisco pioneer Giorgio Voroder. After singles such as 'Gloria' (by Umberto Tozzi,1979) and 'Self Control' (by Raf, 1984) - both covered succesfully by Laura Branigan, who entered the Top Ten both in the United States and the United Kingdom - the fortunes of Italian produced dance music proved remarkable especially in Europe, where unknown singers, DJs and producers international, following the path traced in in English climbed the charts and continued to do so in the early twenty-first century. .\mong them were Spagna, Sabrina, Usura, Datura, recording FPI Proiect, Cappella, Clubhouse, Robert Miles (three singles in the UK Top 10 in 1996), Black Box (six singles in the US and UK Top 2Os) and Eiffeì 65: their 'Blue (Da Ba Dee)' was number one in the UK in 1999, where it sold one million copies. The more the music industry became global, the more global became Italian pop and, beginning in the 1990s, many national stars worked hard to build a reputation in other countries. Eros Ramazzotti and Laura Pausini became very popular both in Europe and Latin America, often recording in Spanish and dueting with stars such as Cher or Tina Turner. The singer and composer Zucchero has probably become the best-known Italian pop artist outside Italy, having performed and recorded with international stars such as Sting, Manà, Paul Young and Macy Gray. In the early years of the twenty-first century, the most interesting artist to come out of the hip-hop scene was Tiziano Ferro, who mixed sounds and arrangements à Ia Babyface with a vocal style that owes much to the 1950s urlatori and to modern crooners. On more familiar ground, Luciano Pavarotti was an opera star open to pop music who organized an important humanitarian event called 'Pavarotti & Friends,'held on his ranch in Emilia-Romagna (near the city of Modena). In this sort of 'good-intention-Woodstock,' broadcast internationally, 'Big' Luciano dueted with many of the most acclaimed artists of show business, from Michael Jackson to B.B. King, including a memorable trio with Brian Eno and Bono for the song 'Saraievo.' However, the legacy of Caruso and Gigli was inherited by Andrea Bocelli, the singer whose recordings that mix arias, classical and new songs have sold more than those of any other Italian in the United States and all over the world. Film Music In the early twentieth century, cÌassical and opera composers such as Ildebrando Pizzetti and Pietro Mascagni conducted the first experiments in the art of writing music for cinema. They were followed by a subsequent generation, of which Goffredo Petrassi and Bruno Maderna were representative. In the years between the two World Wars, films were inundated with popular songs. The prolific team of Bixio and Cherubini composed dozens of soundtracks. Only from the 1950s onwards was there an ItaÌian school of composers devoted almost exclusively to cinema. Among the most representative of these composers were Alessandro Cicognini (who worked especially with Vittorio De Sica), Giovanni Fusco (working with Michelangelo Antonioni), Mario Nascimbene (working with Roberto Rossellini), Carlo Rustichelli and Renzo Rossellini. In the 1960s came the new generation of Piero Piccioni, Fiorenzo Carpi, Armando Trovaioli, Teo Usuelli, Piero Umiliani and Riz Ortolani, whose 'More' (cowritten by Nino Oliviero, 1963), was one of the biggest Italian hits of all time with four million copies sold. Out of this generation came the two individuals who best represent the Italian approach 227 6. Western Europe to film music: Nino Rota (composer of all Fellini's film during Rota's lifetime) won two Academy Awards for The Godfathel, parts I and II in 1977 and 7974 and Ennio Morricone, one of the world most acclaimed soundtrack composers. As to the younger composers, mention must be made of Stelvio Cipriani, Pino Donaggio (who works with scores Brian de Palma), the Argentinian-born Luis Bacalov (who received an Academy Award for Il postino The Postman), Nicola Piovani (who received an Academy Award for La vita é bello - Life ls Beautiful) and the team formed by former rockers Pivio and AIdo De Scalzi. Jazz The spirit of iazz was adopted by the most popular big bands and arrangers in the years preceding World War II. However, iazz remained a peripheral genre until the early 1970s, when young Italians fell in love with it on a massive scale thanks to the establishment of big summer festivals such as Umbria Jazz, which continue to attract musicians from the United States and other countries to play and iam with local musicians. In the more recent years, a Winter session of Umbria Jazz has been offering highly specialized workshops organized in collaboration with the presti- gious Berklee School of Music in Boston, Massachusetts. In the late 1960s, jazz entered the Conservatory thanks to the pioneering work of Giorgio Gaslini, the 'father' of modern ltalian iazz and composer of the seminal manifesto ot musica totale (total music). The lazz community had a share - save maybe for Sugar/Insieme (who had Andrea Bocelli and Elisa on their books). AII major Italian artists recorded for the major multinational companies. Record sales had been for decades equally divided between national and international artists, although singles charts became more and more international, whereas album charts tended to be more balanced. At the beginning of the twenty-first century, Italy ranked on average among the top ten nations in terms of the total revenue generated by its music industry. However, record sales never adequately reflected music consumption, which is grounded mostly in radio (with over 35 million listeners), concerts/gigs and clubs/discos. There are over 1,300 radio stations in the country (a sixth of which are Roman Catholic and part of the InBlu syndicate, which is owned by the Italian Episcopal Conference), but the four public channels (Radio Uno, Radio Due, Radio Tre and Isoradio) attract more than one third of listeners. The television market is shared almost equally between public television (with its three channels: RAI Uno, RAI Due, RAI Tre) and the private group Mediaset (with three channels also: RETE 4, CANALE 5, ITALIA 1), owned by entrepreneur and political leader Silvio Berlusconi. MTV arrived in Italy in the early 1990s, but its share of viewing was almost inconsequential. SKY TV, owned by the Australian tycoon Rupert Murdoch, had a virtual monopoly of satellite television. The Internet was used by approximately 50 percent of families and Tiscali, owned by the labels. Among the best known were Enrico Rava, Enrico Pieranunzi,Pafiizia Scascitelli (based in the United States), Paolo Fresu, Roberto Gatto and Antonello SaÌis. A few independent labels such as Black Saint, Red Records and Egea have made a Sardinian businessman and politician Renato Soru, was a leading service provider in Europe. Italy was also one the leading countries of the world in the mobile phone business (firms such as TIM, Wind and Omnitel, part of Vodafone, wele European Ìeaders) and the hopes of the record industry were focused on the new opportunities represented by ringtones and music sent and downloaded on these reputation in this small business. tiny portable devices. greater international presence than the pophock one, and many local musicians worked abroad, recording with foreign colleagues for foreign Music Business and the Media The Italian record industty is younger than the music publishing business that thrived in the second half of nineteenth century and was based, above all, in Napoli. And it was Napoli that gave birth to the first labels at the turn of the twentieth century. In the early 1930s, the state created its own label, Cetra (later I'onit Cetra), that was linked to EIAR, the public radio network. Fonit Cetra was bought by Warner in the 1990s, and there were no significant domestic labels - in terms of market 228 Bibliography Abruzzese, Alberto. 1979. 'L'industria culturale in ItaÌia tra cinema e televisione (1930-1970)' [The Culture Industry in Italy from Cinema to Television (1930-1970)1. In Verso una sociolo§a del lavoro intellettuale [Towards a Sociology of Intellectual Workl. Napoli: Liguori, 111-30. Borgna, Gianni. 7992. Storia della canzone italiana [History of Italian Songl. Milano: Mondadori. Branzaglia, Carlo, et al. 1992. Posse italiane: Cenùi sociali, underground musicaLe e cultura giovanile degli Italy anni '90 in ltalia Utalian Posse: Centri Sociali, Underground and Youth Culture of the 1990s in Italy). Firenze: Tosca. C-arrera, Alessandro. 1980. Musica e pubblico giovanile lHistory of Zecchino d'Oro]. Bologna: Edizioni Antoniano. Savona, Antonio V. and Straniero, Michele L. 1981. Canti della grande guerra [Songs from the Great [Music and Youth Audiences]. Milano: Feltrinelli. Comuzio, Ermanno. L992. Colonna sonora [Soundtrack]. Roma: Ente dello spettacolo editore. War]. Milano: Garzanti. Savona, Antonio V. 7992. Gli indimenticabili Cetra De Luigi, Mario. 1982. L'industria discogra/ìca in ltalia [Record Industry in ltaly]. Roma: Lato Side. De Matteis, Stefano et al. (eds.). L98O. Follie del varietà lFollies from Variety Showl. Milano: Kupfer. Straniero, Michele L. et al. 1964. Le canzoni della cattiva coscienza [Songs of the Bad Consciousness]. Milano: Bompiani. Feltrinelli. De Mauro, Tullio. 1963. Storia linguistica dell'Italia unita lA Linguistic History of United Italyl. Bari: Laterza. Frori, Umberto. 1984. 'Rock Music and Politics in Italy.' Popular Music 4:267-77. Eranzita, Emilio. 1996. 'Inni e canloni' [Hymns and Songsl. ln I luoghi della memoria. Simboli e miti dell'Italia unita, ed.Isnenghi, Mario. Bari: Latefla. Gaslini, Giorgio. t975. Musica totale lTotal Musicl. Vilano: Feltrinelli. lt canzone italiana [Italians song], 4 volumes. 1984. Vilano: Fabbri. \langini, Mario. 1967. Ilcafé-chantant Napoli: Greco. V2Tzoletti, Adriano. 1983. 1l iazz in ltalia. Dalle origini aI Dopoguerra [)azzin Italy: From Its Origins to after World War IIl. Bari: Laterua. \Ionteleone, Franco. 1992. Storia della radio in ltalia [History of Radio in ltaly]. Venezia: Marsilio. Fesce, Anita. 7999. Napoli a 78 giri: La produzione discografica all'inizio del '900 §apoli at 78 rpm. Record production in the Early Twentieth Cen- turyl. Napoli: Avagliano. Ptrato, Stefano.2OO2. La storia leggera: L'uso pubblico della storia nella canzone italiana [The Light Story: The Public Use of History in Italian Songl. Bologna: Il Mulino. Plastino, Goffredo and Santoro, Marco (eds.). 2004. Popular Music 23(2). (Italian issue.) kato, Paolo. 1986. 'Tradition, Exoticism and Cosmopolitism in Italian Popular Music.' Differentia 2:195-218. Prato, Paolo. 1996. 'Italiani' Utaliansl. ln Dizionario di Pop & Rock [Pop/Rock Dictionary]. Milano: Vallardi, 167-69. kato, Paolo. 1999. 'From TV to Holidays: Karaoke in Italy.' In Karaoke Around the World, ed. Shuhei Hosokawa and Tòru Mitsui. London: Routledge, 702-77. lfui, Cesare (ed.). 1993. Enciclopedia del rock italiano [Encyclopedia of Italian Rock]. Arcana, Milano. lossi, Berardo. 7982. Storia dello Zecchino d'Oro [The Unforgettable Cetra]. Milano: Sperling & Sheet Music di canzoni italiane [A Half Century of Italian Songsl. 1984. Milan: Suvini e Zerbini. 720 supersuccessi [120 Superhits]. 1984. Milan: Mezzo secolo Ricordi. anni di successi: 250 canzoni italiane dal 1902 al 1972 [7O Years of Hits: 250 Italian Songs from l9O2 to 19721. 1979. Milan: Edizioni Curci. 7O Discographical References Amen Corner. 'Half As Nice.' Immediate IM 073. 1969: UK. Black, Cilla. 'You're My World.' Odeon SOE 3758. 1964: UK. Branigan, Laura. 'Gloria.' Atlantic K LI759. 1983: USA. Branigan, Laura. 'SeIf Control.' Atlantic A 9676. 1984: USA. Buscaglione, Fred. Buscaglione. 'll dritto di Chicago.' Fred Fonit Cetra CDP 553. 1989: Italy. (Original recording 1959.) Carosone, Renato. 'Caravan Petrol.' L'esotismo (no, 29 ofthe series Il dizionario della Canzone ltaliana). Curcio DCI 29. 1990: Italy. (Original recording 19s8.) Carosone, Renato. 'Tu vuo'ffa l'americano.' Il meglio di Renato carosone. EMI 3C 054-18554. 1981:ltaly. (Original recording 1957.) Caruso, Errico. Mattinata. HMV DA 546. L904: De André, Fabrizio. 'La canzone di ltaly. Marinella.' KARIM KN 204, 1964:ltaly. Gigli, Beniamino. 'La canzone dell'amore (Solo per te Lucia),' A come amore (n.o. 2 of the series La canzone italiana). FABBRI CI 002. 7995: ltaly. Horne, Lena. 'More.' Stormy Weather. Charly Rec. CDCD 1084. 1993:UK. James, Harry & His Orchestra. Ciribiribin ParÌophone R 2908. 1944: USA. Jones, Tom. Love Me Tonight. Decca F 12924. 1969: UK. Mina. 'Il cielo in una stanza.' Mina. Freqtuerrz 048502. 1990: Italy. (Original recording 1960.) 229 6. Western Europe Modugno, Domenico. Nel blu dipinto di blu in Tutto Sanremo (Vol.2). Curcio SRM O7. 199O: Italy. (original recording 1958) Quartetto Cetra. 'Pummarola Boat.' La straordinaria La canzone dell'amore, dir. Gennaro Righelli. 193Cr Italy. 94 mins. Romantic drama. Original music by Cesare A. Bixio, Bixio Cherubini. La vita é bella, dir. Roberto Benigni. 1994. Italy. 11 , awenturq del Quartetto Cetra (3 CD Box). Selezione mins. Historical drama. Original music by Nicola daÌ Reader's Digest RDCD 746. 1994: ltaly. Piovani. (Original recording 1957.) RabagÌiati, AÌberto. 'Ba-Ba-Baciami piccina.' Le gocce cadono ma che fa: Le canzoni del tempo di guerra. Five Record: FM 514 2O7. 1990 (1940): Italy. Rascel, Renato. 'Il gaucho appassionato.' L'esotismo (rto. 29 of the series Il dizionario della Canzone Italiana). Curcio DCI 29. 1990: Italy. Sandon, Flo. 'El Negro Zumbon.' L'esotismo (no.29 of the series Il dizionario della Canzone ltaliana\. Curcio DCI 29. 1990: ltaly. (Original recording PAOI-O PRAI, REGIONS Central Italy Population: regions - 10,906,626 (2000); metropo- litan areas - 5,687,000 (2000) Regions: 'l'oscana (Tuscany), Marche, Umbria anc Latium. Metropolitan areas: Firenze (Florence,. Ancona, Perugia and Roma (Rome). 1952.) Springfield, Dusty. 'You Don't Have To Say You Love Me.' Philips BF 7482. 1965: UK. 'fremeloes, The. 'My Little Lady.' CBS 3680. 1967: UK. Discography Cabaret all'italiana. EMI 092 7939092. 1989: ltaly. I re del night Club. EMI O92 7930972. 1989:[ta\y. Italian Graffìti (20 albums from 1960 to 1979). Fonit Cetra. PM 7 4L17 60. 1988: ltaly. La grande storia della conzone italiana. Repubblica & L'Espresso (20 CDs from 1930s up to date). 2003: Rome. CAM Award Winning Trties (B CDs on film music). CAM 900-071/8. 1988: Italy. Il Dizionario della Canzone ltaliana (52 CDs on the whole history of ltalian song). Curcio. DCI - 01i 52. 1990: Italy. La canzone italiana (100 CDs on Italian song from 1910 to 1965). Fabbri CI 001/100. 1995: ltaly. anni'60 (75 CDs on Italian song in the 1960s). Fabbri QFAS 60-1169-13. 1993: Italy. Quei favolosi Ruggeri, Paolo (comp.), 'Non dimenticar le mie parole.' Le canzoni della radio (2 CDr. Five Record FM 514209. 1990: ltaly. Stratos, Demetrio. Cantare la voce. Cramps Records CRSCD 779.1978:Italy. Filmography TheGodfather, dir. Francis Ford CoppoÌa. 1972.USA. 175 mins. Crime drama. Original music by Nino Roat. The Godfather Part II, dir. Francis Ford Coppola. 1974. USA. 200 mins. Crime drama. Original music by Nino Rota. Il postino, dir. Michael Radford. 1994. ItalylFtancel Belgium. 116 mins. lìomantic drama. Originaì music by Luis Enriquez Bacalov. 230 The central regions of Italy stretch from the plains of the Po river valley down to the Appennini Mountains, continuing southwards, with the T)-rrhenian Sea (Mare Tirreno) to the west and the Adriatic Sea to the east. The green heartlands of Tuscany and Umbria represent to many the archetypal image of the country, with their medieval. waÌled towns among vineyard-covered hills. I'he area is very important fbr Italy's north-south communications, with the Bologna-È'lorence pasthe crucial connection for both highwarrail systems. Much of the area's economy is reliant on light industry and high technology, while tourism can be said to be one oi sage as (autostrada) and its backbones: cities like Florence, Pisa, Siena and Rome with their artistic treasures and museums attract thousands of visitors every year, while seaside resorts on both coasts typicalìy attract those looking to enjoy characteristic Italian summers. 'Ihis area has always preserved the traces of local and regional musical traditions, on the assumption that the performance of music is primarily for social gathering. For example, ottava rima, an epic-lyrical singing style that dates back to the sixteenth century, has heavily influenced Cantar Maggio, a spring ritual of fertiÌity with largely-improvised chanted rhymes that still takes place in some villages of Tuscany and Umbria, and which is now often quoted in the music of contemporary rock, neo-folk and even avant-garde groups (e.g., Ustma- mo, Gruppo Emiliano, Riccardo Tesi, La Macina, Ambrogio Sparagna). A noteworthy example of the transformation of local handicraft into 'modern' industry would be Farfisa, from Castelfidardo, a small Marche town that was the main production center of accordions