(PDF) Rome | Paolo Prato

The period between 10th and 6th century, basically the Roman Monarchy time, has been illustrated in four maps, each one representing a phase in the making of Rome: pre-urban, proto-urban, urban and city-state. An infographic helps putting the phases into the wider chronological context. Notes and bibliography enable the reader finding the way through this fascinating piece of history.

Abstract. After criticizing attempts to explain the name of Rome without proper regard for the topography of the place and the early linguistic history of Italy, the Carthaginian dimension of early Rome is sketched and a Phoenician origin of the name is proposed: *Rōma, the Phoenician counterpart of Hebrew råmåh 'elevation', itself a frequent place name in the Semitic world, may have been the name of a trading post at or on that hill (out of the proverbial seven) standing closest to the ford at Tiber Island where two prehistoric trade routes joined and traversed the Tiber. A possible role of the originally pre-Indo-European names Palātium, Etrusco-Latin designation of the Palatine Hill, and Rūmōn, old name of the Tiber river, for the selection of *Rōma as name for the location is considered. –– Zusammenfassung: Nach einer Kritik der Versuche, den Namen Roms ohne hinreichende Beachtung der Topographie des Ortes und der sprachlichen Frühgeschichte Italiens zu erklären, wird die karthagische Dimension des frühen Roms skizziert und ein phönizischer Ursprung des Namens vorgeschlagen: *Rōma, die phönizische Entsprechung zu hebräisch råmåh 'Anhöhe', selbst ein häufiger Ortsname in der semitischen Welt, könnte einen Handelsplatz an oder auf demjenigen der redensartlichen sieben Hügel bezeichnet haben, der sich nahe der Furt bei der Tiberinsel befand, wo zwei vorgeschichtliche Fernhandelsstraßen zusammenliefen und den Tiber querten. Eine mögliche Rolle der vor-indogermanischen Namen Palātium, etruskisch-lateinische Bezeichnung des Palatinischen Hügels, und Rūmōn, einer alten Bezeichnung des Tibers, für die Wahl von *Rōma als Name der Örtlichkeit wird berücksichtigt. –– [This is a proof version of the article. The page numbers of the published version differ slightly: 131-142 rather than 131-143.]

Rome adopted a new Roma Plan in May 2017. The Plan aims to support Roma people to leave the encampments and integrate into the labour market and in society by improving their access to education, employment, housing and healthcare. The Roma Plan includes actions for labour market activation, professional training and services for housing inclusion. About 4,500 Roma people live in Rome in temporary dwellings (encampments). They receive welfare benefits under the form of free basic housing and utilities. These services are so far provided for free, regardless of the residents’ contributing capacity and their eligibility. The city council of Rome decided in 2016 to support the integration of Roma people, in particular by facilitating their access to housing, employment, healthcare and education with the ultimate aim to close the encampments in which they currently live. http://eurocities.eu/eurocities/news/Rome-adopts-new-plan-for-integrating-Roma-people-with-support-from-EU-funds-WSPO-AVWKR9

Roma (Rome) Population: city 3,817,133 (2000) - 2,643,581; metropolitan area _ Roma (Rome), capital city of Italy, is one of the most ancient cities of Europe. Its odgins date back to 753 B.C. One of the maior centers of antiquity, Rome is also a hub of Christianity with the Vafican , State located in the inner part of the city. Always a crossroads of many cultures, for centuries Rome has attracted visitors from all over the world. History and the arts are its main features, alongside its 247 ,1 6. Western Europe political role as the site of maior public institutions. Among the first recording artists of the earry 1960s were Ennio Morricone, Edoardo Ecloardo vianelo shares with Milano (Mitan) vianero and Rita ffiJl.*::i"#i#:,:##i":::y.:l-,,:li 1+ primacy i., tt e e.rt"r_ pavone lfro* Tr.i,.ore, tainment industry, from.thà _"* ,"0r", fu, of Roman ,,r**_llrr;,.1;rr:HìJffiIrr-::"::r; cinecittà studios w1e olen used by uorly-ooo romana dei caitautori,a musicar directors in the 1950s and 1960s) movement much to'publìc raaio influenced rf ofiur-rit. song making which, from and terevision (EIAR, formerry RAI). As rru, u""r, tt ] the mid-1g80, orr, prorria"d pop stars: case in most large western craudio l " Baglioni, cities in the last decades Renato zero, Francesco De Gregori, Antoof the twentieth century' Rome has I become an nello venditti and Lucio Battisti, the most roved of I increasingry murtiethnic-environment, giving-hos- them alr. In the s pitatitv to immigrantr^.rlo- Eastern'r*.p! seneration ., North Afrlca' but also china and soutrr emlrica. selves with "*":T:l::l:_irff*..X,*.:.,,"#:. I the revival of peasant music, which ther, I From vernacular to popular recorded on tape (mainìy for the song ;;i;-;;;;.ì I At the turn of twentieth centurli, the traditional Istituto De Martìno and for the Discoteca or'1"r", I f "ro "^",,,, :::l* *:' -1; I :: ltT#: :...x,.."if,1?f &ff the ,rransform,", iì".:f#ffi #;::1"ffi.J"1x:ffi:,:,.:*x": I "Jl,:":1T',,::?x%*ff'$: ;::I::x$t#,:i: ffiTHK#:li1,,:ru* :ffJX::f:,ifr,#[,iu]il:;T*; i;;:; tr# opera stages to café-chantaL"rfs. J:::',#T "r*:1.1";,;; ffi: ,,; I In the late iszos, theworld music circuit outsideitaìy. I of rri, .o_"i. The typical Roman vocal inflection is best I Ettore petrolini recorded much i!!'il#'ffi:.1'-:TJ,:T"il-"T"ffiffi::: ;"JJ:.::::'*l'J'*xT:x:i:lJ}"*;;f;l;n 3:J:ltffi :?tffiIft ,:X,,,fi mer (usually male), is the most even §fi in the f*;*:t i:i *ia.rpr"ui ,tyi., early twenty-first century, when :ij: :ilXT.fr::.f,1i]*,ffit;"';#;';; The city's twin passions for soccer and sinsinE have produced , .,.riqr" phenomenon: the cre'aii'oì H,1[.';]";:ffiul [:ÌLffHiJ ;:T,"i ?":TT:f3:', ;,ffi] "#f,'l ;;iT1.."?,1X".l,}" I I I I I Italy: Roma (Rome) earlv 196CX [1o and Rita § generation rh to scuoi.r ment much nhich, from rrs: Claudio egori, Antorost loved of iliv oriented emed them" n'hich thes :rr-h- formed rca di Stato), 1 CrTnzonier€ artists such e del Lazio. ents such as e thanks to :ll known in rion is best r proletarian, n the 1990s dueted wlth and singing the creation chants. And, talian chamnusical event almost one : ln 1945, after the liberation from Nazi fascism, hot clubs'proliferated in Rome. The 013 Orchestra, rl bv Piero Piccioni, best known for his many r:undtrack records, became Rome's leading bebop snd. The year L949 witnessed the opening of \hrio's Bar, one of Italy's most famous iazz spots, rttracting an audience of dedicated iazz fans and jre most wealthy. Once a week, the Roman New rlrleans Jazz Band performed at the club reinvigorrdng the city's strong enthusiasm for traditional rzz. The group was also at the core of the l961s, La Federico Fellini,s .Innvmous film of 1960 - a period which allowed lraltan iazz musicians, often discriminated against :\- club and venue owners, to make ends meet J:lce Vita, a name inspired by :la)-ing pop with pop groups and keeping their 3\'orite music for after hours. Most of the clubs 'rere located right on the Via Veneto. Ctub 84 :Ìosted Nicola Arigliano, one of Italy,s most im- :urtant iazz vocalists, the Italian Billy Eckstine. -{nother favorite iazz spot was the Brick Top, which :rumbered Frank Sinatra among its regular custorers. It was managed by the US vocalist Ada Smith :rtd named after her brick-colored hair. Last but not -tast was Rupe Tarpea, internationally known as "the' club of La Dolce Vita, a place graced by :rerformers such as Chet Baker. Rome's penchant :or jazz has welcomed over the years such diverse t-Àlents as Armando Trovajoli, Danilo Rea and Roberto Gatto. The politically committed 1970s also witnessed the birth ol scuole di musica popolare, ',cccupied buildings' that were turned into schools of music. Hip-hop and Rap ge spanned a Ituring many orchestras of nico Angelini ;. the . Fascist e\otic dance l"rire in hotels Umberto suddenly, in Sala ime's publica- nò, featuring lis suffocating Ins of peoples rcient wisdom at restricting reir names but t the outbreak rned. From the late 1980s, hip-hop developed a strong iollowing in Rome, witnessing two different musi- cal directions both inspired by US rappers. One, spearheaded by Lorenzo Cherubini, aka Jovanotti, and Ice One owed a lot to the party sound of Afrika Bambaataa and the Beastie Boys. The other, far more underground, political and inspired by groups such as Pubiic Enemy, revolved around abondoned buildings (centri sociali occupati), mainly occupied by squatters and turned into culturai, political and recreational centers. Forte nence, such as Colle Der Fomento, Indelebile Inchiostro, Flaminio Maphia and Piotta, all resorting to a mixture of gangsta rap, social awareness and a deep irony. Bibliography Adinolfi, Irancesco. 2OOO. Mondo Exotica: Suoni, visioni, manie della Generazione Cocktail [Mondo Exotica: Sounds, Vislons, Manias of the Cocktail Generation]. Torino: Einaudi. Borgna, Gianni. 7997.'La canzone romana, [Roman Songl. In Dizionario della Canzone italiana fDictionary of Italian Songl, ed. Gino Castaldo. Roma: Curcio, 265-82. Borgna, Gianni. 7997. 'La scuola romana, [The Roman School]. In Dizionario della Canzone italiana [Dictionary of Italian Song], ed. Gino Castaldo. Roma: Curcio, 1524-46. Branzaglia, Carlo et al. 1992. posse italiane: Centri sociali, underground musicale anni '90 in ltalia [Italian e cultura giovanile degli Posse.. centri sociali, Underground and Youth Culture of the 1990s in Italy]. Firenze: Tosca. Micheli, Giuseppe. 1989. Storia della canzone romana [History of Roman Song]. Roma: Newton Compton. Discographical References Cole, Nat 'King.' 'Arrivedercl Darling.' Capitol EAp 2-1037. n.d.: IISA. Lane, Abbe with Tito Puente and his Orchestra. 'Arrivederci Roma.' E/ negro zumbon. Sarabandas CD 62073. 1992: Italy. Lanza, Mario. 'Arrivederci Darling.'. RCA RA 13001. 1956: USA. Montesano, Enrico et. al. 'Roma nun fa, la stupida stasen.' Rugantino. CAM CM 600-001. 1998:Italy. Rascel, Renato. 'Arrivederci Roma.' Carosello italiano.Fabbri CI 001. 1994:Italy. (Original recording 195s.) Discography AK 47 . Fuori dal centro. I1 manifesto CMDL 04. 1996: Ita1y. Angelini, Cinico. Cinico Angelini e la sua Parlophon cP 92479.1938: Italy. Orchestra. Assalti Frontali. Banditi. BMG 7432167940-2. 1999: Prenestino, one of the most [amous cenlri in Rome, supported Assalti Frontali, Ak 47 and One Love Hi Powa, three groups established after the split of Onda Rossa Posse, a seminal rap collective. These Baglioni, Claudio. Diario Baglioni. RCA 74321 'oppositional'labels such as Gridalo Forte Records. Over the years, other rap artists came to promi- 538232. 1997: ltaly. Balzani, Romolo. Una vita per la canzone. TimaClub 2(4). 2002: Italy. occupied buildings also witnessed the birth of Italy. Barsizza, Pippo. Pippo Barzizza e la sua Orchestra Blue Sfdf. Fonotecnica N 224B. 1930: Italy. 249 6. Western Europe Battisti, Lucio. pensieri, emozioni. RCA 74321 429532. 1996: Italy. Campi, Ma:ia. Le regine del Café Chantant Fonit Cetra. 1982: Italy. Centi, Sergio. Romana Voi. 7. RCA 7132t651872. 1965: Italy. (2 CDs) Colle Der Fomento. Odio pieno. Mandibola rec. MND 803. 1996: Itaty. De Gregori, Francesco. La nostrq storla. RCA pD 7720t. 1987: Italy. Venditti, Antonello. Se l,amore è amore. Heinz Music 432787357 2. 2000: Italy. Vianello, Edoardo. 20 grandi successl. RCA CD7lS47. 7 Italy. Vi1la, Claudio. Collection. Replay ASIN B00000JH9A. 1999: ttaly. Zero, Renato. Zeromondo. RCA Italy. 7 43217 48842. 2000: Filmography Del Pelo, Alfredo. [Jna sera. Fonit Cetra FC 3621. Lo Dolce Vita, dir. Federico Fellini. 1960. Italy, France. 174 mins. Comedy. Original music br. 1982: Italy. Nino Rola. Flaminio Maphia. Itaty,s Most Wanted. CD Club IRANCESCO ADINOLFI and PAOLO pRAtLl 02812850006-2. 1 998: Italy. Garinei e Giovannini. II meglio d.7 . . . Fonit Cetra San Remo LPX302. 1991: Italy. Gatto, Roberto, and Rea, Danilo. Improwisi. Gala Population: 56,026 (ZOOO\ Records GLLP 91034. 1989: Italy. San Remo is a small coastal town located in Liguria. Ice One. B-Boy maniaco. Mandibola MND 802 a few miles from the French border and part CD. of the 1995: Italy. Imperia province. ,Gem, of the Riviera dei Fiori, San Indelebile Inchiostro. Negri de Roma. Unic UCD Remo shares with Nice, Monte Carlo and other 007. 2001: Italy. resorts of the Còte d,Azur a hundred_vear_old Jovanotti. Lorenzo 1990-1995. Raccolta. Soleluna tradition of tourism. Beside luxury hotels and a 528654-2. 1995: Italy. casino, San Remo offered its La Scuola romana. Curicio DCI_4. 1990: ltaly. Marini, Giovanna. I treni per Reggio Calabria.l dischi del sole DS 1066/68. 1976: Italy. Morricone, Ennio. Themes. RC A 7 4327 S 4667 2. n. d. : Italy. Onda Rossa Posse. B4ffi iI tuo tempo. AF O01,. 1990: Italy. One Love Hi pawa. Daje pure te. Musica Forte/ Cassette. 1992: Italy. Pavone, Rita. L,album di Rita pavone. RCA ND 75324. 1992: Italy. Petrolini, Ettorc. Ettore petrolini. EMI 54 1186811 1981 Italy. Piccioni, Piero. piero piccioni presenta Lydia MacDo_ nald. La Voce dei padrone eF.Lp g109. 1964: lta\. Piotta. Comunque vada sarà un successo. Fruscio AN-f 011 CD. 1999: Italy. Quartetto Cetra. La straordinaria ayventura del Quartetto Cetra. Selezione dal Reacler,s Digest RDCD 146. 1994:Itaty. Ramazzotti, Eros. Eros. DDD 24321538102. 1997: Italy. Roma cdnta. Fabbri CI024. 1995: Italy. Roman New Orleans J azz Band,. Ronnn New Orleans lazz Band. RCA EpA 30_311. 1958: Italy. Rascel, Renato. Vogliamoci tanto bene. EMI OgZ 7949982. 1990: Itaty. Sparagna, Ambrogio. Invito. RCA 74321 27BBg. 1995: ltaly. 2so a song festival in cosmopolitan clientele which turned out to be the prototype for the most famous show of its kind: on 29 January 1951, the party Hail of the San Remc, Casino hosted the first Festival della Canzonc Italiana (Festival of Italian Song), won by Nitla pizz with'Gra,/ie dei {ior.'At thal time, ltall was in thr grip of a 'festival craze, in dozens of towns, citìe: 1932, and small villages. There were festivals of all kind:. from those devoted to ,mountain songs, to other: dedicated to 'summer camp songs.,The reason r,r,hr San Remo hecame the preeminent festival in lta.l\ _ uÌtimateiy obsqlrli69 all the others _ Iies in the fa.. that the public (and only) radio station (RAI broadcast the final evening. In ìq53, televisior began to cover the song contest and, from tha: time, San Remo became synonymous with main_ stteam canzone. ln more than S0 years, the Sar: Remo festival has cliscovered new talent, rewardec the best performers and hosted the cream of fbreigr. pop and rock. Its heydaywas the 1960s, a decadelr: which many lnternational stars came to take part ir: the contest and sang songs that were written fc: them in Italian by ltalian composers. Among ther:: were Frankle Laine, Stevie Wonder, tsen E. King, tht Yardbirds, Pat Boone, NeiÌ Sedaka, Dusty Spring, field, Paul Anka, Shirley Bassei, Wilson pickeir an. Sonny and Cher. In the early 1990s, Ray Charle: and Miriam Makeba, among others, came lo thr festival to sing in Italian. The event has only had .

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