Young guitarist from Piombino, Tuscany. Currently based in Bologna, where he is developing his movie soundtrack production skills.
He has been collaborating since 2020 with the Jug Band Colline Metallifere and also has projects with Dario Canal and other collaborations in the theatre sector.
Find him on https://www.instagram.com/crimson_bard/
Here we are – the column dedicated to the possibility of designing each day a measure of the PNRR according to the vision of a bunch of apparent hobos, with the rationale that the world is our homeland, that moral law and the starry sky are the same thing, and that synaesthesia is a daily practice which can be applied to margin project controls in a project is coming to an end.
If you liked it…the column ends today, but the story of the bunch of apparent hobos does not. For more information and booking: micalosapevo@pibinko.org or whatsapp 3317539228.
For a grand musical finale, a double feature including greetings and an invitation.
[in the header picture, the menu of the restaurant where Simone Sandrucci and other peers playing the instruments he plays will never be happy to go]
Happy trails to you, until we meet again | Buon viaggio a voi, fino al nostr prossimo incontro
Happy trails to you, keep smiling until then | Buon viaggio a voi, fino ad allora continuate a sorridere
Who cares about the clouds when we’re together | Chi se ne frega delle nuvole, quando siamo insieme
Just sing a song and think ’bout sunny weather | Basta cantare una canzone e pensare al bel tempo
Ci dicevano, insistevano, di studiare
Che da grandi ci sarebbe stato utile sapere
Le cose che a scuola andavamo ad imparare
Che un giorno avremmo dovuto anche lavorare
E c’è chi è stato promosso, c’è chi è stato bocciato
Chi non ha retto la commedia ed è uscito dal gioco
Ma quelli che han studiato e si son laureati
Dopo tanti anni adesso sono disoccupati
Infatti mi ricordo mi sembrava un po’ strano
Passare tutte quelle ore a studiare il latino
Perché allena la mente a metter tutto in prospettiva
Ma io adesso non so calcolare L’IVA
Io volevo sapere la vera storia della gente
Come si fa a vivere cosa serve veramente
Perché l’unica cosa che la scuola dovrebbe fare è:
Insegnare ad imparare
Io per mia fortuna me ne son sempre fregato
Non facevo i compiti, non ho quasi mai studiato
Ascoltavo dischi, mi tenevo informato
Cercavo di capire ed adesso me la so cavare
Perciò va’ pure a scuola, per non far scoppiar casini
Studia matematica, ma comprati un violino
Impara a lavorare il legno, ad aggiustar ciò che si rompe
Che non si sa mai, nella vita un talento serve sempre
Over the past couple of months we have been lagging in the translation of our posts into English, for two reasons: (1) we were very busy with the “geotour” and (2) our call for translators, issued on Nov. 27, has not yet yielded valid candidates. So, pending a couple of quiet days for Jack O’Malley to catch up with the “transcreation” of pibinko’s articles (or vice versa), we simply decide to give priority to specific content, like today.
After the publication, yesterday, of the “Rosetta stone” version of the Live Motel show with the Jug Band Colline Metallifere (vedi link), it is not possible to be indifferent, for the folks who, in the years, have been following the stories leading to that performances.
But, since most of you did not follow them, or if you followed you might have been mildly distracted, what can we do? We can play Caparezzah! …and do it all over again. For more information: micalosapevo@pibinko.org oppure whatsapp 3317539228
PS the call for translators is here: https://www.pibinko.org/call-for-translators-for-the-pibinko-org-network-and-the-jug-band-colline-metallifere/
Vorrei che i pidocchi abitassero la testa di Branduardi, | I would like lice to live in Branduardi’s head
giocare a Tomb Raider insieme a Finardi, | to play Tomb Raider with Finardi
uscire solo con la Cinquetti e tornare tardi, | go out with Gigliola Cinquetti and be back late
vorrei sapere la mia lingua meno di Biscardi, | I would like to know my language less than Biscardi
criticare sgorbi disegnati da Sgarbi, | To criticize scrawls made by Sgarbi
mettere peli sotto le ascelle di Barbie, | To put hair under Barbie’s armpits
sapere che Wilma se la fa con Barnie, | to know that Wilma has an affair with Barnie
che di nascosto Red Ronnie s’abbuffa di carni, | that Red Ronnie is secretly binging on meat
fermi, vorrei accendere la radio e sintonizzarmi su Jannacci che ammette che é astemio, | hold it, I would like to turn on my radio and tune on Jannacci admitting that he doesn’t drink
vorrei stare al Music Awards, vincere un premio, | I would like to be at the Music Awards, win a prize
Micheal Jackson dice “Capa sei un genio”, | Michael Jackson saying “Capa you’re a genius”
vorrei che il mitico Leonardo Di Caprio facesse film solo quando Vasco é sobrio, | I would like that the great Leonardo Di Caprio made films only when Vasco is sober
io vorrei che i Backstreet Boys fossero gay, | I would like the Backstreet Boys to be gay
che le teenager amassero Casadei. | That teenagers loved Casadei
Tutto ciò che c’é c’é già. | All that exists exists
Allora nei miei pezzi che si fa? | So what can we do in my songs?
Renderò possibile l’impossibile | I will make the impossible possible
fino a rendere possibile la realtà. | Until reality is made possible
Vorrei che Naomi Campbell senza bikini | I would like that a topless Naomi Campbell
facesse il filo a Ceccherini, | had a crush for Ceccherini
che invece vuole fuggire con la Nannini | who, on the contrary, wants to run away with [Gianna] Nannini
nella discoteca dove spingono Masini, | in the disco club where they are pushing [Marco] Masini
Cristina D’Avena faccia dodici bambini | that Cristina d’Avena had twelve babies
che fanno cacca che si attacca ai pannolini, | doing their poo sticking on their diapers
poi la vedi al bar che ci dà col Martini, | and then you see her at the bar drinking lots of Martini
s’ingozza con gli alcolici, duetta con i Prodigy, | getting stoned with alcohol, and making duets with the Prodigy
vorrei alzare calici come un prete perfetto, | I would like to raise cups like a perfect priest
Marilyn Manson mi farà da chierichetto, | with Marilyn Manson as my altar boy
vorrei che la Marini fosse senza culetto, | that [Valeria] Marini had no ass
che mi mostrasse il suo Do di petto, | that she showed me her chest voice
aspetto che nasca Capa Rezza junior, | waiting for Capa Rezza junior to be born
Martufello? Il massimo dello humor, | Martuffello? he’s maximum humour
Shaquille O’Neale che fa l’amore in Mini Minor, | Shaquille O’Neale make love in a Mini
Casadei, dove sei? | Casadei, where are you?
I want you freedom!
Tutto ciò che c’é c’é già.
Allora nei miei pezzi che si fa?
Renderò possibile l’impossibile fino a rendere possibile la realtà.
Via Bernina, Milan, Italy – Photo credits:Alessio Guerrini – October 2021
The multi-talented Wolfgang Scheibe: when he is not producing hand-made prints or playing his one-string bass, he writes books. His last one was published a few days ago (co-authored with Davide Rizzi and Lorena Turrini)
For more information, micalosapevo@pibinko.org
In the branobag blog series, started in 2012 and proposed in various seasons, I have been translating the lyrics for several songs. I kind of lost track of this work, but I recovered it by browsing the articles and tagging them accordingly.
In addition to the songs listed below, the most recent series of translations is related to the “lithobags” published between March and May 2020, during the pilot phase of the Participatory Lithology project. These songs are in the Jug Band Colline Metallifere blog (see this link).
Note: The titles of the “boscoriserva/avresiocsob”, dedicated 2014 to the Woodstock Festival, are intentionally “mis-translated”.
For comments, questions, or requests for new translations, please write to info@pibinko.org
Speaking to people about what we do, something we go for metaphors, sometimes for equations, sometimes for songs, or sometimes we just close our eyes and feel the breeze.
To provide yet another expression for the concept of “interdisciplinary protection and promotion of lesser known assets in the fields of culture, environment, and open innovation“, Mauro Tirannosauro wrote a few lines of code displaying all of the photos published on the pibinko.org and Jug Band Colline Metallifere WordPress sites in a single sequence, generating a sort of mosaic.
The result is a photo log which is partly in chronological order (for each event we do we have at least one photo on the site), and partly not, since we are also gradually importing to the site photos of things we did in pre-blog times (since 2000), which in the system are assigned the data of when the file is uploaded. In any case the effect is interesting, and some of you may recognise situations and folks.
To see the whole “movie” try: https://www.pibinko.org/scripts/listallimg2.php . This will get you over 1500 images (as of August 10, 2020), and will require some time to load, although the final effect is neat. Otherwise, you can try the month-by-month option:
January – February – March– April– May – June –
July – August – September – October – November – December
If some of the shots capture your curiosity, you can try and find the corresponding news on the blogs, or write for more information.
The core of the images starts in 2015.
This event opens the 2020 conce[r|p]t tour of the Jug Band Colline Metallifere, featuring Mauro Tirannosauro. For more information in English, please write to micalosapevo@pibinko.org
TO BE TRANSLATED
[PER CHI VOLESSE PARTECIPARE: SI RACCOMANDA DI PRENOTARE ALLO 0564 575492].
La rete pibinko.org, attiva dal 2007 su progetti di tutela e valorizzazione di risorse minori o poco note nel campo della cultura, dell’ambiente e dell’innovazione libera, opera da sempre in un contesto internazionale, pur affrontando spesso tematiche e specificità legate a situazioni apparentemente “piccole” (per esempio, una delle principali aree di ricerca che abbiamo in corso è se nel gioco del panforte il panforte si debba incartare col giornale o meno. Preghiamo la regia di mandare il video, e se avete altri pareri vi invitiamo a scrivere a micalosapevo@pibinko.org per condividerli).
Nel triangolare lingue, etnie e fedi calcistiche, da ormai un anno e mezzo ci troviamo a interagire con alcuni rappresentanti della Repubblica della Macedonia del Nord (in macedone: Република Северна Македонија, traslitterato: Republika Severna Makedonija; in albanese: Republika e Maqedonisë së Veriut).
Su cosa si interagisce? Be’, la cosa è in via di sviluppo. Nei primi mesi (eravamo nel dicembre 2018, durante i preparativi del terzo Festival d’Inverno in Val di Farma) le domande erano tipo “vuoi zucchero nel caffè?”, dato che ci si trovava la mattina alle 6.30 al bar. La conversazione si è però presto sviluppata su temi quali, come si dice “buongiorno” e “buonasera” nella Macedonia del Nord, le priorità di finanziamento di grandi opere, e cose simili. A un certo punto ci siamo detti: “Quando si organizza un evento pubblico in cui non si parla solo di questo e di quale zona di bosco sei stato a smacchiare?”.
Per domenica 21 giugno, come apertura della stagione conce[r|t]tistica della Jug Band dalle Colline Metallifere, vi proponiamo una serata per conoscere un po’ più da vicino la piccola-grande nazione della Macedonia del Nord, a partire da spunti e testimonianze offerti da alcuni dei residenti nelle Valli di Farma e Merse. In particolare, la nostra guida per la serata sarà Ferit Idrizovski, originario di Crn Vrv , da oltre venti anni residente in Italia.
Si comincerà con un aperitivo, poi cena con menu alla carta, e per dessert mentale “Macedonia del Nord”.
La partecipazione all’evento è libera e gratuita (ma è possibile lasciare un contributo per l’organizzazione e lo sviluppo di progetti di gemellaggio). E’ necessario prenotare allo 0564 575492.
Per sapere quali saranno altre iniziative a cura della rete pibinko.org e della Jug Band Colline Metallifere, controllate periodicamente il nostro Calendario, e datevi il tempo di un thè lungo per conoscere meglio le nostre attività a partire dai siti pibinko.org e jugbandcm.it.
Una versione PDF del manifesto (7 Mb), per la stampa, è scaricabile da questo link.
Per altre informazioni: micalosapevo@pibinko.org oppure whatsapp 3317539228
June 19 update: please note the Google Meet link to join the event https://meet.google.com/raf-mung-prq, and please pre-register by writing to micalosapevo@pibinko.org
[reccomended soundtrack: Keine Macht für Niemand by Ton Steine Scherben, recently proposed by Jug Band Colline Metallifere in the Lithobag series]
The London Festival of Architecture (LFA) is the world’s largest annual architecture festival. It normally takes place in June. Given the COVID-19 contingency, this year’s edition will be organised with a digital format, to be followed by a public event later in the year. Like many festival, each year has a theme, which for 2020 is Power.
The pibinko.org network was invited to collaborate in the submission of an event for LFA2020. This happened in the context of a collaboration with the Department of Civil Engineering, Architecture, Territory, and Environment at the University of Brescia, Italy (DICATAM). Before this experience, for DICATAM we organised a one-day conference in 2019, and in March and April 2020 Andrea Giacomelli gave lectures on the application of participatory methods for the design of interdisciplinary activities for the protection and promotion of the night sky.
Pleae save the date for June 26, 2020, from 5 to 8PM (Rome Time, UTC+2). The topic we will discuss is the cultural power of the Cold War.
Participation to this event is free, but you need to register by sending an email to micalosapevo@pibinko.org. We will write you back for confirmation and, once you are registered, you will receive with due advance notice the necessary indications to connect on June 26. Your email will be used by pibinko.org only, and only to inform you about the conference connection.
Below is a brief introduction:
The Cold War was the highest expression of the attempt by the USSR and the USA to impose their power on the whole world during the second half of the 20th century.
This clash expressed itself, among other things, in the building a reciprocal fortified line between West and East Europe. In this context, NATO built in Italy numerous architectures and installations to monitor the activity of the Warsaw Pact.
In the first part of the conference, Olivia Longo will present her studies analysing the relationships between the architecture of the Cold War with the Italian architectural theories of the second half of the 1900s. In the second part Davide Sigurtà will describe the Italian North-Eastern military architectures.
In the third part, Andrea Giacomelli will present a participatory mapping exercise will be presented. This will consider test installations and architectures on which citizens worldwide will be invited to provide feedback and impressions. Through various facilitation techniques by the pibinko.org network (including music), the inputs collected from the community in relation to historical aspects, or to the future, of these architectures and installations will be connected to the architects’ view, thus suggesting an avenue to new forms of collaboration between the power of experts and of citizens in this field.
For more information: micalosapevo@pibinko.org
