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1950’s Italy and Italians' music preferences; They listened to french songs at the time like Edith Piaf’s “La vie en rose”. At the time, there were a lot of people who spoke only the dialect and did not understand the neologistic texts so the Italian songs were not something that they could listen to and understand. It was the year 1950, at the time the Italian song was snubbed, and hardly understood, by the majority of the people, who spoke only dialect, and did not understand some neologistic texts contained in some passages. The Italian song, however, was the favorite, (it excelled) even if for some time the Italians turned to musical genres of other nations. Those were the years of French songs, Edith Piaf's worldwide triumph with "La vie en rose" became the darling, even of those refined and cultured listeners, to whom everything was not reduced to learning, a verse, or a refrain. The Latin American rhythms also had a great notoriety in our country, we remember "Besame Mucho" of Velasques, Fecchi and Nati. The songs were notoriously pressing, while new extravagant and exotic types of dance, such as the "Rumba" and the "Samba" were in vogue, they "stemmed" for a short while, but they did not succeed, to put aside the Italian melodic song. It was the time of the concupiscent, bursting Rita Hayworth, with her "Amado mio" in the film where she played Gilda.

Sanremo and its impact; -

Between 1953 and 1971, except 1956, every song was sung twice by two different artists. It was tradition to have a version sung by the Italian artist and a second one by an international guest Some artists: Louis Armstrong, Stevie Wonder, Jose Feliciano, Roberto Carlos, Paul Anka, Yardbirds, Marianne Faithfull, Shirley Bassey, Mungo Jerry The festival began in January 1951 in Sanremo Casino. The protagonists that gave it life Rita Hayworth and Nunzio Filogamo. It was first broadcasted over Italy’s most famous radio station. It was later televised in color for the first time in 1977. When the idea of the Italian song festival was born, the city of Sanremo was still badly reduced, with many problems to be faced and solved. The municipal theater had been destroyed by bombing, the war had just ended, however, there was the will to get out of the war impediment, it was intended to take back its main role in the tourist and floricultural fields.

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The 70s: The editions of the "Sanremo Festival" of the 70s were determined by various unpleasant and contesting events. For example, in the 1972 edition, we recall the singers' strike. The young people of that time, or rather, their musical tastes, were different, and the indifference towards singing competitions was sanctioned by more demanding musical genres. Those were the years of color television, and of the spread of "Saturday night fever" in the discos. Italian culture was evolving, feminism prevailed. The crisis in Sanremo was felt for several years, the festival was no longer the national event, and television showed little interest, so did the general public. The decade remained the lowest, most insignificant for the singing manifestations of the time. In 1977 there was a change of location. The singing event moved from the Municipal Casino to the Ariston theater in Via Matteotti, and the Television broadcast the first color Festival. In 1979 there was a big event in Sanremo, with the presence of international stars such as Tina Turner and Kate Bush. Those were the dark years. The Festivals of the 70s, however, produced for the musical world, great singers of Italian songs, such as Lucio Dalla, and what about the combination Mogol -Battisti, of Mina's triumphs, even if she did not participate in the singing competitions. 1970 saw the birth of the Ligurian group "I Ricchi e Poveri" after their participation in the festival of 70 and 71, in fact, they became the most popular group in Italy.

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The 80s: The eighties were incisive for the relaunch of the Sanremo Festival. In a certain sense, they returned the allure to the event. The general climate in the country was also what you saw in pop music: a desire to unplug. People reacted by putting aside the political commitment that had perhaps been coercive. They took more care of themselves. Then the event of commercial

television was the spring that determined the competition." The rebirth" of the Sanremo Festival, with the return of the Italian songs to the competition, and the intervention of international guests, attributed something more to the event, which regained possession of its function, imposing itself as the most important event and followed by the general public. The television returned and gave more space to the singing competition. The singers who decreed their success in the early eighties were Vasco Rossi, Zucchero, Loretta Goggi, Eros Ramazzotti … -

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The 90s: The nineties were the decade of many changes for the singing event. Play-back was abolished, and the orchestras that accompanied the singers in the performance returned to popularity. Foreign singers paired with Italian colleagues, who proposed the motifs in the competition in their own language, also came on stage. The juries also changed, they were no longer those of recent years linked to the bettors of ToTip(Italian betting pools). During the nineties once again changed foreign presence, who returned to the stage only as foreign guests, rather than competitors. The Orchestra remained composed of 53 elements, which played live. For the 40th anniversary of the Festival, the event was moved to the megastructure in Valle Armea; it was the new flower market under construction, called Palafiori. It was considered a "madness" of the patron Adriano Aragozzini, who managed to transform an empty room into a theater ready to gather five thousand people. The Patron had all against him- they said that he would have failed in that undertaking that seemed impossible. Instead, they had to give him credit- he invited and brought, in the city of flowers, and songs, great names of International music, and the event was perfectly successful. The Italian song in these years traveled the whole world.

beach songs/ youth dances vs. youth identity/ feminine identity vs. singer/songwriters/ political songs: Beach songs: they weren’t certain of the towering success, but they were confirmed as the music of the ‘60s with a the unique atmosphere of lightheartedness and a joyful vigor. - The birth of the so-called "beach songs", which was favored by the explosion, in those years, of mass tourism; and the multiplication of youth dances, primarily the twist but also several others (hully gully, surf, shake, je je, cha cha cha, more than one per season), which were almost always associated with "beach songs". The atmosphere of vitality is linked to this line of songs joyful light-heartedness that is usually attributed to the "fabulous 1960s". feminine identity: proposed different models of gender identity, many ways of being a woman: the intellectual and sophisticated; the rebellious brat; the “soap and water” girl; the young independent and proud to be; the unscrupulous and transgressive one; or the traditional, "reassuring" image in the eyes of men singer/songwriters/ political songs: It was an alternative song in the first place on a formal level: some songwriters adopted the spoken language of the everyday, unadorned, often raw in terms, and in some cases abandoned the rhyme and other formal conventions. The contents addressed were also, and above all, alternative: existential issues such as the discomfort of living, the difficulty of communicating, of living the love relationship; themes of political and social denunciation, for example against the war, or with stories of marginalized such as prostitutes, bums, misfits.

the groups of individuals recognizing new ideals and proposing change as we approach the end of the ‘60s; musical genres of the 70s Vocabulary: Sanremo - 1960s Italy Neologism: a new word, usage, or expression

Cantagiro: Italian summer song contest held from 1962 to 1972 and 1990 to 1993. It featured three categories: A for famous artists, B for newcomers, and C for groups Festivalbar: was an Italian singing competition that took place in the most important Italian squares during summer, such as the Piazza del Duomo, Catania, or Piazza Bra, Verona. The first edition took place in 1964 and was broadcast by RAI Cantautore- singer/songwriter Post-war baby boom Canzoni da spiaggia= beach songs - 1) The birth of the so-called "beach songs", which was favored by the explosion, in those years, of mass tourism; and the multiplication of youth dances, primarily the twist but also several others (hully gully, surf, shake, je je, cha cha cha, more than one per season), which were almost always associated with "beach songs". The atmosphere of vitality is linked to this line of songs joyful light-heartedness that is usually attributed to the "fabulous 1960s". Types of dances: hully gully, surf, shake, je je, cha cha cha Generational identity: The identification between the song and the singer that launched it/ Teen idols Gender identity: a way of singing with a unique tone, without extensions: it separated the musical base from the voice - 2) Generational identity and gender identity. Celentano and Mina were the forerunners of a large number of teen-idols, i.e. very young singers, peers of the teenagers to whom they addressed, and who recognized themselves in them. It is therefore not surprising that being young also became the theme of many songs, as a proud claim to generational identity. Among the many young singers, many were women, who proposed different models of gender identity, many ways of being a woman: the intellectual and sophisticated; the rebellious brat; the “soap and water” girl; the young independent and proud to be; the unscrupulous and transgressive one; or the traditional, "reassuring" image in the eyes of men. Existentialism: Marginalized Ragazza acqua e sapone= a girl without makeup, simple yet spontaneous Canzonette= little songs (little hits)

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3) The involved song of the songwriters, an alternative to the superficial Italian "canzonette", even to those of the new generations. It was an alternative song in the first place on a formal level: some songwriters adopted the spoken language of the everyday, unadorned, often raw in terms, and in some cases abandoned the rhyme and other formal conventions. The contents addressed were also, and above all, alternative: existential issues such as the discomfort of living, the difficulty of communicating, of living the love

relationship; but also, in some, themes of political and social denunciation, for example against the war, or with stories of marginalized such as prostitutes, bums, misfits. This vein therefore intertwined, at least in part, with that of the political song, which emerged above all in the second half of the decade, close to 1968. Fascism: Fascism and censorship • No swing or jazz, music considered “barbaric” Propaganda The Resistance Partigiano= partisan Radio transmission: The first year of the sanremo festival was broadcast live on radio, starting at 22.00 -

The first edition took place from 29 to 31 January 1951, in the Casino party room. Nunzio

Filogamo introduced . The organization: Rai -Casino di Sanremo. Artistic Direction: Maestro Giulio Razzi. The evenings were broadcast live on the radio, starting at 22.00. -

In those years only the radio existed, and it was the protagonist, and the popular songs became the symbol of our society. It is said that the festival was born almost casually, in general indifference. Instead, it was the public that decreed its great success.

Arrival of the TV - "The rebirth" of the Sanremo Festival, with the return of the Italian songs to the competition, and the intervention of international guests, attributed something more to the event, which regained possession of its function, imposing itself as the most important event and followed by the general public. The television returned and gave more space to the singing competition. The singers who decreed their success in the early eighties were Vasco Rossi , Zucchero , Loretta Goggi , Eros Ramazzotti ... Mangiadischi= record player ▶

Portable Record Players ▶

In 1959 the weekly radio show Hit parade started airing (the charts of the top 10 most sold records, it was started in America in 1936)

▶ In 1967 a radio version was started that was very popular with teenagers. Jukebox music: musical style (loud/dispersive), Powerful voices/screamers - 1960s - The use of the jukebox allowed new musical styles to emerge - singers during this period were often tasked with singing very loudly - With the jukebox new musical styles were established, so-called noisy, and dispersive, in fact, the places where you could listen to music were the bars, the game rooms, night clubs, so the request was for strong voices, which immediately attracted the 'listening to the public, so voices were born that went down in history as the "screamers". In America they were famous, " Beat music/generation beat: hard beat, electronic instruments, vocal harmonies and catchy melodies, fast and rhythmic

Vocabulary: 1970s contradictory period: loitering, cutting school, human barriers/picketing

Ideology Ideologies dictated the rules of the game, so much so that sometimes, to follow them, one entered the vortex of contradiction: if one was attracted to bourgeois ideology, at least the one that supported the modus vivendi of some economic and social categories, even without having the possibility, he ended up behaving like bourgeois imitators. On the contrary, if one was attracted to the life philosophies of the left-wing youth movements or the working class, while enjoying a wealth of goods and money, one found oneself living in the circles of the parades and assemblies like pretended proletarians. Perhaps this is why many bourgeois pretensions died of hunger and many pretended proletarians got rich. In the context of class opposition, leftist movements and groups (like Lotta continua, Federazione giovani comunisti italiani) and right-wing movements and groups (such as the NAR, Ordine Nuovo, Avanguardia nazionale), fought each other, sometimes physically, so much so that some were killed. It is no coincidence that this period went down in history as years of lead. On May 28, 1974, in Piazza della Loggia in Brescia, while a demonstration against neo-fascist terrorism was taking place, a bomb exploded, hidden inside a waste container, causing the death of 8 people and the wounding of another 102; Activists from the neo-fascist group Ordine Nuovo were accused of the massacre. In this climate of tension, far-left terrorist organizations, such as the Brigate rosse, planned their goals; the then President of the DC , Aldo Moro, was seized on March 16 1978, on via M. Fani (a street) in Rome... everyone knows how it ended. years of lead: Red Brigades (Brigate Rosse) - was a far-left[1][2] armed organization and guerrilla group based in Italy responsible for numerous violent incidents, including the abduction and murder of former Prime Minister Aldo Moro, during the Years of Lead - Formed in 1970, the Red Brigades sought to create a revolutionary state through armed struggle, and to remove Italy from the North Atlantic Treaty Organization (NATO). The organization attained notoriety in the 1970s and early 1980s with their violent acts of sabotage, bank robberies, kidnappings and murders.[3] Nearly fifty people were killed in its [4] attacks between 1974 and 1988. According to the Center for International Security and Cooperation, the BR was a "broadly diffused" terrorist group.[5] - In the 1980s, the group was broken up by Italian investigators, with the aid of several leaders under arrest who turned pentito and assisted the authorities in capturing the other members. Cult music...