Melancholia de peppino di capri biography
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Peppino di Capri
Musical artist
Giuseppe Faiella (born 27 July 1939), professionally known as Peppino di Capri ("Peppino" is a diminutive of "Giuseppe" and "di Capri" means "of Capri"), is an Italian popular music singer, songwriter and pianist, successful in Italy and europe. His international hits include "St. Tropez Twist", "Daniela", "Torna piccina", "Roberta", "Melancolie", "Freva", "L'ultimo romantico", "Un grande amore e niente più", "Non lo faccio più", "Nun è peccato", and "Champagne".
Biography
[edit]Peppino began singing and playing the piano at age 4, entertaining the American army troops stationed on the island of Capri with a repertoire of American standards. After 6 years of classical studies and playing at nightclubs around Capri, Peppino and his group The Rockers released their first single, with the songs "Malattia" ("Sickness") and "Nun è Peccato" ("It's not a sin"), sung in Neapolitan in 1958.
The single was an instant hit, and Peppino spent most o
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I. Athens/Attica
“Melancholia tou septembri” — it seems that every time you turn on the radio you hear the Greek version of the mournful old Italian song by Peppino di Capri. In this unprecedented year there might be more reason to be melancholic. But on the other hand, photos of crystalline seas still catch my eye in articles on finding the best beaches around Athens, or the best weekend getaways just as they appeared all through August. In this spirit we decide to go away for a few days to a nearby island: Kea, also known as Tzia. Here is the song in the original Italian, English translation here.
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But before we get on the ferry, let’s go back to August for a moment, when we had to go into the city one day to pick up a document from the translation bureau nära Monastiraki Square. The square, usually empty in August, was even more ghostlike this summer. A few tourists were looking listlessly at the Lonely Planet guidebook for Athens and the usual
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Internal exile in Fascist Italy
Confino (i.e., internal exile) was a malleable form of imprisonment during the Fascist ventennio. Confinement allowed Mussolini to bypass the judiciary thereby placing prisoners outside magistrates’ jurisdiction. The Regime applied it to political dissidents, ethnic and religious minorities, gender nonconforming people, and mafiosi, among others. Recent political discourse in and beyond Italy has drawn on similar rationales to address perceived threats against the State. This study examines confino from a historical, political, social, and cultural perspective. It provides a broad overview of the practice and it also examines particular cases and situations. In addition to this historical assessment, it is the first to analyse confinement as a cultural practice through representations in literature (e.g., letters, memoirs, historical fiction) and film. English-language publications often overlook confino and its repres