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INTERNO RASTA 12-05-09 22-05-2009 13:07 Pagina 1 INTERNO RASTA 12-05-09 22-05-2009 13:07 Pagina 1 Stampa Alternativa INTERNO RASTA 12-05-09 22-05-2009 13:07 Pagina 2 Dedico questo lavoro a mi Reina, I-ndrea, che amo. Al prezioso supporto dei miei genitori, Anna e Massimo. Ai traguardi recentemente raggiunti dai miei fratelli Michele e Alberto (in particolare il matrimonio di quest’ultimo con Sara, concomitante con l’uscita di questo libro). graphic designer Daisy Jacuzzi STAMPA ALTERNATIVA / NUOVI EQUILIBRI Casella Postale 97 – 01100 Viterbo fax: 0761 352751 e-mail: [email protected] sito: www.stampalternativa.it e-mail: [email protected] ISBN 978-88-6222-085-9 © 2008 Lorenzo Mazzoni © 2009 Stampa Alternativa/Nuovi Equilibri Questo libro è rilasciato con licenza Creative Commons-Attribuzione-Non commerciale-Non opere derivate 2.5 Italia. Il testo integrale della licenza è disponibile all’indirizzo http://creativecommons.org/licenses/by-nc- nd/2.5/it/. L’autore e l’editore inoltre riconoscono il principio della gratuità del prestito bibliotecario e sono contrari a norme o direttive che, monetizzando tale servizio, limitino l’accesso alla cultura. Dunque l’autore e l’editore rinunciano a riscuotere eventuali introiti derivanti dal prestito bibliotecario di quest’opera. Per maggiori informazioni, si consulti il sito «Non Pago di Leggere», campagna europea contro il prestito a pagamento in biblioteca <http://www.nopago.org/>. INTERNO RASTA 12-05-09 22-05-2009 13:07 Pagina 3 RASTA MARLEY LE RADICI DEL REGGAE LORENZO MAZZONI INTERNO RASTA 12-05-09 22-05-2009 13:07 Pagina 4 LA REGINA DEL SUD SORGERÀ NEL GIORNO DEL GIU- DIZIO E CONDANNERÀ E SCONFIGGERÀ QUESTA GENERAZIONE CHE NON HA ASCOLTATO LA PREDICA DELLE MIE PAROLE: PERCHÉ ELLA VENNE SIN DAI CONFINI DELLA TERRA, SOLO PER ASCOLTARE LA SAGGEZZA DI SALOMONE. KEBRA NAGAST, LA BIBBIA SEGRETA DEL RASTAFARI, CAP. XXI VEDIAMO UNA NUOVA ETIOPIA, UNA NUOVA AFRICA, STENDERE LE SUE MANI INFLUENZANDO TUTTO IL MONDO, INSEGNANDO ALL’UOMO IL MODO DI VIVERE IN PACE, IL MODO DI DIO. MARCUS MOSIAH GARVEY, DA “NEGRO WORLD”, MAGGIO 1923 IO, HAILÈ SELASSIÈ I, IMPERATORE D’ETIOPIA, SONO QUI OGGI PER RIVENDICARE QUELLA GIUSTIZIA CHE È DOVUTA AL MIO POPOLO, E L’ASSISTENZA PROMES- SACI OTTO MESI FA, QUANDO CINQUANTA NAZIONI ASSERIVANO CHE L’AGGRESSIONE COMMESSA CON- TRO DI NOI (DA PARTE DELL’ITALIA) VIOLAVA I TRAT- TATI INTERNAZIONALI. (…) SULLE GRANDI POTENZE CHE HANNO PROMESSO DI GARANTIRE LA SICUREZ- ZA COLLETTIVA A STATI PIÙ PICCOLI, PESA LA MINACCIA CHE POSSANO ANCH’ESSE SOFFRIRE UN GIORNO IL DESTINO DELL’ETIOPIA; IO CHIEDO, CHE PROVVEDIMENTI INTENDETE ADOTTARE? RAS TAFARI MAKONNEN HAILÈ SELASSIÈ I, DISCORSO ALLA SOCIETÀ DELLE NAZIONI, GIUGNO 1936 INTERNO RASTA 12-05-09 22-05-2009 13:07 Pagina 5 PREMESSA Comincio con un’immagine recente: molti degli studenti che nei mesi scorsi hanno protestato contro la riforma Gelmini indossavano delle magliette con il ritratto di Bob Marley. E pensare che quei giovani non erano neanche nati quando il simbolo del Reggae conquistava con la sua voce, con il suo Reggae e con il suo messaggio lo scenario della musica internazionale. Quelle magliette hanno dimostrato ancora una volta quanto la figura di Marley sia passata da una generazione all’altra. Quanto le sue canzoni siano diventate una parte importante e fondamentale della musica popolare contemporanea, e quindi anche e soprattutto della nostra colonna sonora. Recentemente, Chris Blackwell – il fondatore della casa discografica Island Records che giocò un ruolo decisivo nella travolgente ascesa del celebre artista giamaicano – ha dichiarato: “Marley è ancora tremendamente attuale ed è molto più popolare oggi di quanto lo fosse quando era in vita. Questo dimostra in maniera incontestabile il trionfo del suo talento. Il suo è un messaggio uni- versale che ha superato di slancio qualsiasi differenza, qualsiasi barriera. Marley è stato unico. È unico”. Ha ragione, Chris Blackwell. Prima non c’era stato uno come Marley. E proba- bilmente non ci sarà più un altro come lui. Un piccolo uomo che guardava tutti negli occhi. Un musicista in grado di immaginare e comporre canzoni che con- quistano fin dal primo istante, fin dalla prima battuta. Un uomo semplice e diretto. Un lavoratore infaticabile. Uno che aveva conosciuto la povertà, la miseria e la paura. Un ribelle che si scagliò contro il razzismo. Un mistico che sognò un trionfale ritorno a casa, in Africa, in Etiopia, per tutta la sua gente. Uno che dichiarò più volte di non essere minimamente interessato alla fama e alla ricchezza. Uno che amava le donne, il calcio e la ganja e che quando sali- va sul palco si trasformava completamente. Uno che quando gli chiedevano di definire, di spiegare la sua musica, rispondeva così: “Il ritmo del Reggae è quel- lo del cuore”. Continuo con un’immagine molto più lontana nel tempo, anzi lontanissima. Seconda metà degli anni Settanta: una notte, credo nel 1976, da una piccola radio all’improvviso arrivò una canzone che aveva un ritmo strano, rallentato, 5 INTERNO RASTA 12-05-09 22-05-2009 13:07 Pagina 6 quasi sbilenco. Poi, quel beat, continuo e ipnotico, prese corpo e colore grazie ad una voce persuasiva e coinvolgente. “E questo chi è?”, mi chiesi mentre quella canzone sembrava, per fortuna, non finire mai. Credo che molti della mia gene- razione, quella del ’77, per intenderci, abbiano scoperto così Bob Marley e il Reggae. E sono convinto che abbiano avuto la mia stessa sensazione: quel ritmo era davvero strano e quella voce unica. In quel periodo non era certo facile conoscere in profondità un nuovo artista o un nuovo genere musicale. Non c’erano strumenti come la Rete, non c’erano social network e trovare certi dischi era una vera e propria impresa. Tutto era fondato sul passaparola, su poche trasmissioni radiofoniche e su un numero ancora più esiguo di giornali specializzati. Eppure, nonostante tutto questo, o forse proprio per tutto questo, per molti la scoperta, casuale e benedetta, di Marley e degli altri grandi protagonisti del Roots Reggae fu un’esperienza decisiva, una di quelle che non puoi, non vuoi, non devi dimenticare. Altri ancora si avvicinarono alla musica giamaicana gra- zie a Eric Clapton che portò in cima alle classifiche internazionali I Shot The Sheriff, uno dei brani più infuocati di Marley, o attraverso i Clash – soprattutto grazie alla loro versione di Police & Thieves, il classico prodotto da Lee Perry e interpretato da Junior Murvin – oppure, qualche tempo dopo, sulla scia del- l’esplosione dei Police di Sting. Un percorso, questo, simile a quello intrapreso molti anni prima da tutti quelli che erano partiti dai Rolling Stones o da John Mayall per arrivare poi a Muddy Waters e agli altri maestri del Blues. Già, in fondo, l’influenza del Reggae (e quindi di Marley) sulla musica degli anni ’70 fu vicina, molto vicina, a quella esercitata dal Blues e dal grande cuore pulsan- te del Soul e della Black Music sul Rock del decennio precedente. E tanto per chiudere il cerchio, Ruth Brown, potente cantante di Rhythm’n’Blues e Soul, ha recentemente dichiarato: “Quando è arrivato Elvis Presley, abbiamo scoperto che la nostra musica si chiamava Rock’n’Roll…”. La generazione del Soul, lo stile african american nato dall’incontro audace e tremendamente terreno tra il Gospel – la musica della fede – e il Rhythm’n’Blues, il suono del peccato, della sensualità. La generazione di artisti quali Sam Cooke, Ray Charles, James Brown e Curtis Mayfield, gli stessi che accesero la fantasia e l’immaginazione del giovane Robert Nesta Marley. Furono questi i suoi maestri per la musica, proprio come i vecchi e saggi Rasta (gli elders) di Trench Town, il ghetto di Kingston, o quelli che vivevano sulle colline giamaicane furono i mae- stri della sua anima. E ancora, la visione di Marcus Garvey, il sogno di Martin 6 INTERNO RASTA 12-05-09 22-05-2009 13:07 Pagina 7 Luther King, la consapevolezza spirituale di Malcolm X, la rabbia delle Black Panthers: furono questi i riferimenti del giovane Marley. Nel libro che state per leggere troverete tutto questo. E molto altro ancora. Non è l’ennesima biografia dedicata al “profeta del Reggae”. Con il rigore dello stu- dioso, ma anche con la sincerità e la semplicità dell’appassionato, Lorenzo Mazzoni traccia un ritratto fedele e completo di Marley. Analizza in profondi- tà il suo linguaggio, il suo messaggio spirituale e alcune delle sue canzoni più riuscite e popolari. Racconta la storia della Giamaica e del movimento Rastafari. Affronta con rispetto un patrimonio tanto imponente quanto prezio- so. È un libro per tutti quelli che hanno indossato, indossano o indosseranno una maglietta con il ritratto di un uomo libero e orgoglioso: Robert Nesta Marley. Alberto Castelli 7 INTERNO RASTA 12-05-09 22-05-2009 13:07 Pagina 8 INTERNO RASTA 12-05-09 22-05-2009 13:07 Pagina 9 PARTE PRIMA: LE RADICI INTERNO RASTA 12-05-09 22-05-2009 13:07 Pagina 10 INTERNO RASTA 12-05-09 22-05-2009 13:07 Pagina 11 PREFAZIONE Questo libro è uno studio che parte dall’analisi dei testi delle canzoni di Bob Marley per spiegare la storia della musica Reggae e del movimento Rastafa- ri, ed avvicinare il lettore al linguaggio patois giamaicano dei Rasta. Basta dare un’occhiata all’indice per capire di che cosa si tratti. Nell’introduzione si spiegano alcuni concetti fondamentali (cosa significhino Zion, Babylon, Exodus, Jah, Rastafari ecc.). Seguono sette capitoli: il primo e il secondo sul- la storia della Giamaica e del movimento Rastafari; il terzo, comprensivo di un minidizionario Rasta – molto utile per chi ascolta il Reggae – sul lin- guaggio giamaicano (patois, creolo).
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