La Radio del Doposcuola!


Approfittiamo del blog per ospitare un altro simpatico e ben riuscito progetto scolastico: la trasmissione radiofonica del doposcuola dello Spazio Giovani di Affori (Milano)!

Con grande piacere pubblichiamo qui di seguito i contenuti radiofonici ideati, scritti e interpretati direttamente dai ragazz* che hanno partecipato al nostro doposcuola medie 2015/2016.

Potrete ascoltare:

  • l’inno rap del doposcuola
  • due radiodrammi (intitolati Che piatto saporito! e Chi la fa l’aspetti!) liberamente scritti ispirandosi alla novella Andreuccio da Perugia a Napoli tratta da Il Decamerone di Boccaccio.
  • una rubrica divertente di barzellette raccontate dai ragazz*

Buon ascolto a tutti (cliccate sul link qui sotto) e un ringraziamento speciale ancora a tutto lo staff, ai volontari e soprattutto agli studenti del doposcuola 2015/2016!


 La Radio del Doposcuola

Un percorso CLIL nella storia sociale e musicale afroamericana – A CLIL introduction to afroamerican social and music history


Ho il piacere di inaugurare con questo post un nuovo progetto scolastico, organizzato con la collaborazione degli studenti delle classi quinte dell’Istituto di Istruzione Superiore Cremona di Milano.

Qui di seguito una breve presentazione dei materiali e degli argomenti che verranno utilizzati e discussi durante il modulo CLIL (Content and Language Integrated Learning), a beneficio degli studenti interessati.

A seguire pubblicheremo dei brevi articoli di approfondimento, frutto del lavoro cooperativo docente-studenti.

Vi aspetto nel laboratorio di storia!






  • GOSPEL/SPIRITUAL: End of the Nineteenth century
  • BLUES: Beginning of the Twentieth century
  • JAZZ: ’20s-’30s
  • RHYTHM AND BLUES: ’40s-’50s
  • SOUL: ’60s
  • FUNKY: ’70s
  • HIP HOP: ’80s-’90s


Nobody knows the trouble I’ve seen

Nobody knows the trouble I’ve seen
Nobody knows my sorrow
Nobody knows the trouble I’ve seen
Glory, Hallelujah

Sometimes I’m up, sometimes
I’m down, ohh, yes Lord
Sometimes I’m almost
To the ground, oh yes, Lord

Nobody knows the trouble I’ve seen
Nobody knows but Jesus
Anybody knows the trouble I’ve seen
Glory, Hallelujah

If you got there before
I do, oh yes Lord
Tell all my friends, I’m
Coming too, oh yes Lord

Nobody knows the trouble I’ve seen
Nobody knows but Jesus
Nobody knows the trouble I’ve seen
Glory, Hallelujah

Although you see me
Goin’ on so, oh yes
I have my trials, here below
Ohh yes, Lord

Oh, nobody knows the trouble I’ve seen
Nobody knows but Jesus
Nobody knows the trouble I’ve seen
Glory, Hallelujah
Ohh, glory, Hallelujah

Everyday I have the Blues

Everyday, everyday I have the blues
Everyday, everyday I have the blues
When you see me worried baby
Because it’s you I hate to lose
Oh nobody loves me, nobody seems to care
Yes nobody loves me, nobody seems to care
Speaking of bad luck and trouble
Well you know I had my share
I’m gonna pack my suitcase, move on down the line
Yes I’m gonna pack my suitcase, move on down the line
Where there ain’t nobody worried
And there ain’t nobody crying

Strange fruit

Southern trees bear a strange fruit,
Blood on the leaves and blood at the root,
Black bodies swinging in the southern breeze,
Strange fruit hanging from the poplar trees.
Pastoral scene of the gallant south,
The bulging eyes and the twisted mouth,
Scent of magnolias, sweet and fresh,
Then the sudden smell of burning flesh.
Here is fruit for the crows to pluck,
For the rain to gather, for the wind to suck,
For the sun to rot, for the trees to drop,
Here is a strange and bitter crop.


Shake rattle and roll

Get outta that bed
Wash your face and hands
Get outta that bed
Wash your face and hands
Well, you get in that kitchen
Make some noise with the pots and pans

Way you wear those dresses
The sun comes shinin’ through
Way you wear those dresses
The sun comes shinin’ through
I can’t believe my eyes
All that mess belongs to you

I believe to the soul
You’re the devil and now I know
I believe to the soul
You’re the devil and now I know
Well, the more I work
The faster my money goes

I said shake, rattle and roll
Shake, rattle and roll
Shake, rattle and roll
Shake, rattle and roll
Well, you won’t do right
To save your doggone soul
Yeah, blow, Joe

Revolution will not be televised

You will not be able to stay home, brother.
You will not be able to plug in, turn on and cop out.
You will not be able to lose yourself on skag and
skip out for beer during commercials,
Because the revolution will not be televised.

The revolution will not be televised.
The revolution will not be brought to you by Xerox
In 4 parts without commercial interruptions.
The revolution will not show you pictures of Nixon
blowing a bugle and leading a charge by John
Mitchell, General Abrams and Mendel Rivers to eat
hog maws confiscated from a Harlem sanctuary.

The revolution will not be televised.
The revolution will not be brought to you by the
Schaefer Award Theatre and will not star Natalie
Woods and Steve McQueen or Bullwinkle and Julia.
The revolution will not give your mouth sex appeal.
The revolution will not get rid of the nubs.
The revolution will not make you look five pounds
thinner, the revolution will not be televised, Brother.

The revolution will not be right back
after a message about a white tornado, white lightning, or white people.
You will not have to worry about a dove in your
bedroom, a tiger in your tank, or the giant in your toilet bowl.
The revolution will not go better with Coke.
The revolution will not fight the germs that may cause bad breath.
The revolution will put you in the driver’s seat.

The revolution will not be televised, will not be televised,
will not be televised, will not be televised.
The revolution will be no re-run brothers;
The revolution will be live.

Soul power

Know we need it, soul power
We got to have it, soul power
Know we want it, soul power
Got to have it, soul power
Give it to me, soul power
We need it, soul power, we need it, soul power
We got to have it, soul power
I want to get under your skin
If I get there, i’ve got to win
You need some soul, come on get some
And then you’ll know, where I’m comin’ from
I may lay in the cut and go along
And I’m still on the case and my rap is strong
Huh huh, hey
Go jump on my train, when I’m outta sight
Just check yourself, huh, and say, yeah you’re right
Huh, hit me, give me, put it there, huh
Love me tender, and love me slow
If that don’t get it, jump back for more
We gottagottagotta, get in the bracket
Brother, if you fall on the ground
Remember you’ve got to get down, down downdown…
Huh, say it again, say it
If that don’t get it, jump back for more
Huh, come on, if that don’t get it, jump back for more

Fight the power

1989 the number another summer (get down)
Sound of the funky drummer
Music hitting your heart cause I know you got soul
(Brothers and sisters, hey)
Listen if you’re missing y’all
Swinging while I’m singing
Giving whatcha getting
Knowing what I know
While the Black bands sweating
And the rhythm rhymes rolling
Got to give us what we want
Gotta give us what we need
Our freedom of speech is freedom or death
We got to fight the powers that be
Lemme hear you say
Fight the power
Fight the power
We’ve got to fight the powers that be
As the rhythm designed to bounce
What counts is that the rhymes
Designed to fill your mind
Now that you’ve realized the pride’s arrived
We got to pump the stuff to make us tough
From the heart
It’s a start, a work of art
To revolutionize make a change nothing’s strange
People, people we are the same
No we’re not the same
Cause we don’t know the game
What we need is awareness, we can’t get careless
You say what is this?
My beloved lets get down to business
Mental self defensive fitness
(Yo) bum rush the show
You gotta go for what you know
Make everybody see, in order to fight the powers that be
Lemme hear you say
Fight the power
Elvis was a hero to most
But he never meant shit to me you see
Straight up racist that sucker was
Simple and plain
Mother fuck him and John Wayne
Cause I’m Black and I’m proud
I’m ready and hyped plus I’m amped
Most of my heroes don’t appear on no stamps
Right on, c’mon
What we got to say
Power to the people no delay
To make everybody see
In order to fight the powers that be



  • Barack Obama (Selma’s anniversary speech, 2015)
    • We’re the slaves who built the White House and the economy of the South.  (Applause.)  We’re the ranch hands and cowboys who opened up the West, and countless laborers who laid rail, and raised skyscrapers, and organized for workers’ rights.We’re the fresh-faced GIs who fought to liberate a continent.  And we’re the Tuskeegee Airmen, and the Navajo code-talkers, and the Japanese Americans who fought for this country even as their own liberty had been denied.We’re the firefighters who rushed into those buildings on 9/11, the volunteers who signed up to fight in Afghanistan and Iraq.  We’re the gay Americans whose blood ran in the streets of San Francisco and New York, just as blood ran down this bridge. (Applause.)We are storytellers, writers, poets, artists who abhor unfairness, and despise hypocrisy, and give voice to the voiceless, and tell truths that need to be told.

      We’re the inventors of gospel and jazz and blues, bluegrass and country, and hip-hop and rock and roll, and our very own sound with all the sweet sorrow and reckless joy of freedom.

  • Blog:


Nascendo figlio di 2 jazzisti, facile poi diventare PRINCE – PRINCE and Jazz

Prince 1


Stavolta la mia naturale tendenza ad andare fuori tema (rispetto all’argomento del Blog, cioé le connessioni tra danza e Jazz) non ha più copertura, come è successo in occasione di alcuni articoli precedenti: riuscirò infatti difficilmente a convincervi del fatto che Prince abbia a che fare con il Jazz ballabile, anche se è biograficamente innegabile che suo padre fosse un rispettato musicista e compositore proveniente dalla Louisiana e sua madre una cantante, entrambi esponenti della musica Jazz.

Ma l’emozione musicale scaturita dal riascolto di questi vinili, ritrovati nei cassetti della gioventù della casa materna, mi porta a ricollegare la mia passione per questo artista all’amore per tutte le forme musicali afroamericane (di cui lui è innegabilmente uno dei principali esponenti, nelle ultime decadi del Novecento). La varietà e genialità di ispirazione, che ruota intorno al Funky, ma con forti iniezioni di Soul, Rock, Pop e Hip Hop, trova senza dubbio radice nell’origine familiare legata alla musica di New Orleans (versione Blues e Jazz). Ormai assodata a livello critico la qualità della proposta musicale dell’artista (il cui nome è cambiato troppe volte, per poterlo identificare in modo diverso che col suo vero nome anagrafico, per l’appunto Prince), il piccolo grande genio di Minneapolis continua a cercare un fruttuoso compromesso commerciale con le sue capacità artistiche (oltre che come polistrumentista, a livello compositivo). Non è poi in fondo quello che avvenne anche a molti artisti Jazz nel periodo dello Swing?

Non si vuole intendere ovviamente che tutto quanto da lui inciso sia al livello dei primi lavori, soprattutto per una tendenza eccessiva alle ballad un po’ melense e sdolcinate. Ma se vi capitasse di riascoltare o scoprire album come Sign o’ the Times, credo capireste cosa intendo dire, dedicando a questo esponente della musica Black un post di questo blog. Non solo perché è possibile trovare in questo doppio album assoli e spunti propriamente Jazz, ma anche perché lo spirito versatile ed eclettico di Prince raccoglie ed espande tanti elementi della tradizione musicale afroamericana. Vi lascio il piacere di scoprire i vostri brani preferiti tra i 16 contenuti in questa opera del 1987, forse la più compiuta e completa nella sua discografia.

L’emozione dell’ascolto di un album che avevo studiato anche sugli spartiti per pianoforte tanti (ma tanti) anni fa, è anche legata ad un desiderio che era rimasto insoddisfatto per parecchio tempo, vista la difficoltà di reperire on line suoi materiali sonori. Quasi un miracolo in questa era informatica, ma la sua crociata (non del tutto condivisibile, visto che neanche legalmente su Spotify si possono trovare i suoi brani) contro lo streaming on line e il file sharing è effettivamente riuscita a bloccare la diffusione delle sue canzoni senza il suo consenso. Vi toccherà quindi fare lo sforzo di andare a scovare i vecchi vinili o musicassette dell’epoca, o comprare un cd nuovo di zecca. Vi assicuro che merita la “fatica”.


Mazz Jazz (aka Professor Bop)


Warning: this post is clearly OT!

Yes, this time I have no excuse: hard to explain why Prince should be mentioned in a blog dedicated to the connection between Jazz and dance! Ok, let’s say that he is son of 2 Jazz musicians: his mother was a singer and his father a well-known composer-pianist from Louisiana, the originary land of Jazz and Blues. But of course this is out of topic.

By the way, it is an emotion listening again to his vinyls after such a long time. Precious moments, because it is not easy to find on line his music and videos, due to his crusade against the streaming on line and the file sharing. So finally I found again these old vinyls and I can enjoy (legally!) his music. And there is a link between Prince and Jazz, not only because of his family. You can find solos and inspiration from the afroamerican tradition in all his music, altough not everything is as good as the first albums.

I’d like to mention most of all Sign o’ the Times, because critics (and myself) agree it is one of his most complete works. Here you find inspiration from Funky, Soul, Hip Hop, Rock, Pop, together with some very good musicians that know how to play a solo (for instance the saxophonist). Good to enjoy this double vinyl and listen to a very good compromize between commercial music and artistic inspiration.

Hey by the way, wasn’t this also what happened with the Swing music back in the ’30s and (mostly) ’40s?


Mazz Jazz (aka Professor Bop)

Prince 2