{ "objects": [{ "title": "Marcia Notturna de 4 Regg. Bersaglieri", "creator": "Pathé", "date": "1928", "description": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)", "subject": "10.6 inches shellac record; Lybia; Colonisation; Scena dal Vero; Historical Event; Colonisation", "identifier": "14635", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0001.html" }, { "title": "Uscita del Tenente Colonnello Galliano dal forte du Makalle'", "creator": "Pathé", "date": "1928", "description": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)", "subject": "10.6 inches shellac record; Ethiopia; Colonisation; Scena dal Vero; Defeat", "identifier": "14635", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0002.html" }, { "title": "Una domenica fra le trincee di Tripoli", "creator": "Pathé", "date": "1928", "description": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)", "subject": "10.6 inches shellac record; Lybia; Colonisation; Scena dal Vero", "identifier": "14554", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0003.html" }, { "title": "La fucilazione dell'interprete tedesco a tripoli", "creator": "Pathé", "date": "1928", "description": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)", "subject": "10.6 inches shellac record; Lybia; Colonisation; Scena dal Vero", "identifier": "14554", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0004.html" }, { "title": "Un attentato notturno a Bengasi", "creator": "Pathé", "date": "1928", "description": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)", "subject": "10.6 inches shellac record; Lybia; Colonisation; Scena dal Vero", "identifier": "14557", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0005.html" }, { "title": "I berretti du lana (Scena della guerra di Tripoli)", "creator": "Pathé", "date": "1928", "description": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)", "subject": "10.6 inches shellac record; Lybia; Colonisation; Scena dal Vero", "identifier": "14557", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0006.html" }, { "title": "I funerali degli eroi dopo la battaglia di Bengasi", "creator": "Pathé", "date": "1928", "description": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)", "subject": "10.6 inches shellac record; Lybia; Colonisation; Scena dal Vero", "identifier": "14599", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0007.html" }, { "title": "Sulla ridotta Lombardia (Scena dell'occupazione italiana a Derna)", "creator": "Pathé", "date": "1928", "description": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)", "subject": "10.6 inches shellac record; Lybia; Colonisation; Scena dal Vero", "identifier": "14599", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0008.html" }, { "title": "Il Papa e le campagne di Venezia (Scena Vaticana)", "creator": "Pathé", "date": "1928", "description": "Sound historical reconstruction (\" Scena dal vero \")", "subject": "10.6 inches shellac record; Vatican", "identifier": "14600", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0009.html" }, { "title": "La rivista del 14 marzio a Tripoli", "creator": "Pathé", "date": "1928", "description": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)", "subject": "10.6 inches shellac record; Lybia; Colonisation; Scena dal Vero", "identifier": "14600", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0010.html" }, { "title": "La partenza del richiamato per Tripoli", "creator": "Pathé", "date": "1928", "description": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)", "subject": "10.6 inches shellac record; Lybia; Colonisation; Scena dal Vero", "identifier": "14519", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0011.html" }, { "title": "La consegna della medaglia d'oro all'11° Bersaglieri ed all'84° Fanteria a tripoli", "creator": "Pathé", "date": "1928", "description": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)", "subject": "10.6 inches shellac record; Lybia; Colonisation; Scena dal Vero", "identifier": "14519", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0012.html" }, { "title": "La breccia di porta pia", "creator": "Pathé", "date": "1928", "description": "Sound historical reconstruction (\" Scena dal vero \")", "subject": "10.6 inches shellac record; Lybia; Colonisation; Scena dal Vero", "identifier": "14666", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0013.html" }, { "title": "La partenza delle truppe italiane per la Cina", "creator": "Pathé", "date": "1928", "description": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)", "subject": "10.6 inches shellac record; Lybia; Colonisation; Scena dal Vero", "identifier": "14666", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0014.html" }, { "title": "La leggenda del Piave", "creator": "Pathé", "date": "1928", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "11.4 inches shellac record; World War I; Remembrance", "identifier": "14715", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0015.html" }, { "title": "Soldato Ignoto", "creator": "Pathé", "date": "1928", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "11.4 inches shellac record; World War I; Remembrance", "identifier": "14715", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0016.html" }, { "title": "Giovinezza, Giovinezza", "creator": "Pathé", "date": "1928", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "11.4 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "12587", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0017.html" }, { "title": "Inno ai martiri fascisti", "creator": "Pathé", "date": "1928", "subject": "11.4 inches shellac record; Partito Nazionale Fascista; Institution; Martyr", "identifier": "12587", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0018.html" }, { "title": "All'armi, All'armi", "creator": "Pathé", "date": "1928", "description": "The song \"All'armi\" was used as the hymn of the National Fascist Party when it was founded in November 1921. It glorifies the extreme violence carried out by the squadrists against the Fascists' political opponents, particularly the Communists, at the turn of the 1920s. The song Giovinezza, also used as the new party's anthem, finally became its official hymn in 1924, with a new lyrics by Salvatore Gotta.", "subject": "11.4 inches shellac record; Partito Nazionale Fascista; Institution; Violence", "identifier": "12588", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0019.html" }, { "title": "Giovinezza, Giovinezza", "creator": "Pathé", "date": "1928", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "subjects", "identifier": "12588", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0020.html" }, { "title": "La leggenda del Piave", "creator": "Pathé", "date": "1928", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10.6 inches shellac record; World War I; Remembrance", "identifier": "14843", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0021.html" }, { "title": "Giovinezza", "creator": "Pathé", "date": "1928", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10.6 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "14843", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0022.html" }, { "title": "Giovinezza", "creator": "Pathé", "date": "1928", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10.6 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "16106", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0023.html" }, { "title": "Inno di Mameli", "creator": "Pathé", "date": "1928", "subject": "10.6 inches shellac record; Nation; Risorgimento; Nation", "identifier": "16106", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0024.html" }, { "title": "Inno ai martiri fascisti", "creator": "Pathé", "date": "1928", "subject": "11.4 inches shellac record; Partito Nazionale Fascista; Institution; Martyr", "identifier": "16112", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0025.html" }, { "title": "Yvonne (Novella russa)", "creator": "Pathé", "date": "1928", "subject": "11.4 inches shellac record; Light Music; Love", "identifier": "16112", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Pathé, Catalogo generale, 1928", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0026.html" }, { "title": "All'armi !.. All'armi !", "creator": "La Voce del Padrone", "date": "1929", "description": "The song \"All'armi\" was used as the hymn of the National Fascist Party when it was founded in November 1921. It glorifies the extreme violence carried out by the squadrists against the Fascists' political opponents, particularly the Communists, at the turn of the 1920s. The song Giovinezza, also used as the new party's anthem, finally became its official hymn in 1924, with a new lyrics by Salvatore Gotta.", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence", "identifier": "R 10101", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0027.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1929", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "R 10101", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0028.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1926", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "12 inches shellac record; Childhood; Education; Partito Nazionale Fascista; Institution; Youth", "source": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "identifier": "DA 784", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0029.html" }, { "title": "La leggenda del Piave", "creator": "La Voce del Padrone", "date": "1926", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "12 inches shellac record; Childhood; Education; World War I; Remembrance", "source": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "identifier": "DA 784", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0030.html" }, { "title": "Inno al Duce", "creator": "La Voce del Padrone", "date": "1929", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "12 inches shellac record; Mussolinismo", "identifier": "DB 1162", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, Aprile 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0031.html" }, { "title": "Inno a Roma", "creator": "La Voce del Padrone", "date": "1929", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "12 inches shellac record; Romanità; Town", "identifier": "DB 1162", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, Aprile 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0032.html" }, { "title": "Inno degli Studenti Universitari Fascisti", "creator": "La Voce del Padrone", "date": "1929", "description": "This recording represents fascist university and student organizations.", "subject": "10 inches shellac record; Youth; Institution; Studenti Universitari Fascisti", "identifier": "R 10121", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0033.html" }, { "title": "La Marcia delle Legioni (Inno imperiale)", "creator": "La Voce del Padrone", "date": "1929", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Mussolinismo; Military; Legion; Empire", "identifier": "R 10121", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0034.html" }, { "title": "Il canto del lavoro", "creator": "La Voce del Padrone", "date": "1929", "description": "This song is a Fascist celebration of work and its contribution to the homeland. Composed by Pietro Mascagni, one of the most popular living Italian composers, it is introduced by a propaganda text in the catalog of the record company La Voce del Padrone dated October 1, 1929 (p. 220): \"The new Italy, the Italy that marches confidently towards the future under the aegis of the Fascio Littorio, symbol of imperishable Romanity, today has its ‘Canto del Lavoro’, a veritable hymn of joy, glorifying the conquests of hard-won labor in the workshops and among the clods of mother earth; the idea of ‘Patria’ (Homeland) reigns supreme and is expressed with accents of the purest enthusiasm\". Edmondo Rossoni and Libero Bovio wrote this vibrant, passionate poem, and Pietro Mascagni set it to music with the irresistible élan of his fiery imagination. Conceived by Rossoni in the bitterness of his pre-war exile, \"Il Canto del Lavoro\" powerfully expresses the sorrows and dazzling joys of those who live by their work. The performances, entrusted to La Scala choristers and orchestra teachers under the direction of Mo. Mascagni himself, and the Corpo Musicale della R. Marina Italiana (Mo. Aghemo), were nothing short of impressive.\"", "subject": "12 inches shellac record; Work", "identifier": "S 6800", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, Aprile 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0035.html" }, { "title": "Il canto del lavoro", "creator": "La Voce del Padrone", "date": "1929", "description": "This song is a Fascist celebration of work and its contribution to the homeland. Composed by Pietro Mascagni, one of the most popular living Italian composers, it is introduced by a propaganda text in the catalog of the record company La Voce del Padrone dated October 1, 1929 (p. 220): \"The new Italy, the Italy that marches confidently towards the future under the aegis of the Fascio Littorio, symbol of imperishable Romanity, today has its ‘Canto del Lavoro’, a veritable hymn of joy, glorifying the conquests of hard-won labor in the workshops and among the clods of mother earth; the idea of ‘Patria’ (Homeland) reigns supreme and is expressed with accents of the purest enthusiasm\". Edmondo Rossoni and Libero Bovio wrote this vibrant, passionate poem, and Pietro Mascagni set it to music with the irresistible élan of his fiery imagination. Conceived by Rossoni in the bitterness of his pre-war exile, \"Il Canto del Lavoro\" powerfully expresses the sorrows and dazzling joys of those who live by their work. The performances, entrusted to La Scala choristers and orchestra teachers under the direction of Mo. Mascagni himself, and the Corpo Musicale della R. Marina Italiana (Mo. Aghemo), were nothing short of impressive.\"", "subject": "12 inches shellac record; Work", "identifier": "S 6800", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, Aprile 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0036.html" }, { "title": "Il canto del lavoro", "creator": "La Voce del Padrone", "date": "1929", "description": "This song is a Fascist celebration of work and its contribution to the homeland. Composed by Pietro Mascagni, one of the most popular living Italian composers, it is introduced by a propaganda text in the catalog of the record company La Voce del Padrone dated October 1, 1929 (p. 220): \"The new Italy, the Italy that marches confidently towards the future under the aegis of the Fascio Littorio, symbol of imperishable Romanity, today has its ‘Canto del Lavoro’, a veritable hymn of joy, glorifying the conquests of hard-won labor in the workshops and among the clods of mother earth; the idea of ‘Patria’ (Homeland) reigns supreme and is expressed with accents of the purest enthusiasm\". Edmondo Rossoni and Libero Bovio wrote this vibrant, passionate poem, and Pietro Mascagni set it to music with the irresistible élan of his fiery imagination. Conceived by Rossoni in the bitterness of his pre-war exile, \"Il Canto del Lavoro\" powerfully expresses the sorrows and dazzling joys of those who live by their work. The performances, entrusted to La Scala choristers and orchestra teachers under the direction of Mo. Mascagni himself, and the Corpo Musicale della R. Marina Italiana (Mo. Aghemo), were nothing short of impressive.\"", "subject": "12 inches shellac record; Work", "identifier": "R 10014", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0037.html" }, { "title": "Marcia della Vittoria", "creator": "La Voce del Padrone", "date": "1929", "subject": "10 inches shellac record; Military; War; Victory", "identifier": "R 10014", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0038.html" }, { "title": "Ginnastica Ritmica (Esercizio 1-2)", "creator": "La Voce del Padrone", "date": "1925", "description": "This recording of rhythmic gymnastics exercises was designed to meet one of the concerns of the Fascist regime: to train children to improve their health and eventually turn them into the workers and soldiers who would build a new Empire even more glorious than the Roman one. (See Eden K. McLean, Mussolini’s Children. Race and Elementary Education in Fascist Italy, Lincoln & London, University of Nebraska Press, 2018).", "subject": "10 inches shellac record; Childhood; Education; Sport; Health", "identifier": "R 6947", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, December 1, 1925", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0039.html" }, { "title": "Ginnastica Ritmica (Esercizio 3-4)", "creator": "La Voce del Padrone", "date": "1925", "description": "This recording of rhythmic gymnastics exercises was designed to meet one of the concerns of the Fascist regime: to train children to improve their health and eventually turn them into the workers and soldiers who would build a new Empire even more glorious than the Roman one. (See Eden K. McLean, Mussolini’s Children. Race and Elementary Education in Fascist Italy, Lincoln & London, University of Nebraska Press, 2018).", "subject": "10 inches shellac record; Childhood; Education; Sport; Health", "identifier": "R 6947", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, December 1, 1925", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0040.html" }, { "title": "Ginnastica Ritmica (Esercizio 5-6)", "creator": "La Voce del Padrone", "date": "1925", "description": "This recording of rhythmic gymnastics exercises was designed to meet one of the concerns of the Fascist regime: to train children to improve their health and eventually turn them into the workers and soldiers who would build a new Empire even more glorious than the Roman one. (See Eden K. McLean, Mussolini’s Children. Race and Elementary Education in Fascist Italy, Lincoln & London, University of Nebraska Press, 2018).", "subject": "10 inches shellac record; Childhood; Education; Sport; Health", "identifier": "R 6949", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, December 1, 1925", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0041.html" }, { "title": "Ginnastica Ritmica (Esercizio 7-8)", "creator": "La Voce del Padrone", "date": "1925", "description": "This recording of rhythmic gymnastics exercises was designed to meet one of the concerns of the Fascist regime: to train children to improve their health and eventually turn them into the workers and soldiers who would build a new Empire even more glorious than the Roman one. (See Eden K. McLean, Mussolini’s Children. Race and Elementary Education in Fascist Italy, Lincoln & London, University of Nebraska Press, 2018).", "subject": "10 inches shellac record; Childhood; Education; Sport; Health", "identifier": "R 6949", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, December 1, 1925", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0042.html" }, { "title": "Ginnastica Ritmica (Esercizio 9-10)", "creator": "La Voce del Padrone", "date": "1925", "description": "This recording of rhythmic gymnastics exercises was designed to meet one of the concerns of the Fascist regime: to train children to improve their health and eventually turn them into the workers and soldiers who would build a new Empire even more glorious than the Roman one. (See Eden K. McLean, Mussolini’s Children. Race and Elementary Education in Fascist Italy, Lincoln & London, University of Nebraska Press, 2018).", "subject": "10 inches shellac record; Childhood; Education; Sport; Health", "identifier": "R 6951", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, December 1, 1925", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0043.html" }, { "title": "Ginnastica Ritmica (Esercizio 11-12)", "creator": "La Voce del Padrone", "date": "1925", "description": "This recording of rhythmic gymnastics exercises was designed to meet one of the concerns of the Fascist regime: to train children to improve their health and eventually turn them into the workers and soldiers who would build a new Empire even more glorious than the Roman one. (See Eden K. McLean, Mussolini’s Children. Race and Elementary Education in Fascist Italy, Lincoln & London, University of Nebraska Press, 2018).", "subject": "10 inches shellac record; Childhood; Education; Sport; Health", "identifier": "R 6951", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, December 1, 1925", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0044.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1926", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "7 inches shellac record; Childhood; Education; Partito Nazionale Fascista; Institution; Youth", "identifier": "AY 38", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0045.html" }, { "title": "Balilla", "creator": "La Voce del Padrone", "date": "1926", "description": "This recording is included with others in its publisher's catalog in a section dedicated to children's records. ", "subject": "7 inches shellac record; Childhood; Education", "source": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "identifier": "AY 38", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0046.html" }, { "title": "La leggenda del Piave", "creator": "La Voce del Padrone", "date": "1925", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630). This recording is included with others in its publisher's catalog in a section dedicated to children's records. ", "subject": "7 inches shellac record; Childhood; Education; World War I; Remembrance", "source": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "identifier": "AY 29", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0047.html" }, { "title": "La canzone del Grappa", "creator": "La Voce del Padrone", "date": "1925", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630). This recording is included with others in its publisher's catalog in a section dedicated to children's records. ", "subject": "7 inches shellac record; Childhood; Education; World War I; Remembrance", "source": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "identifier": "AY 29", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0048.html" }, { "title": "La leggenda del Piave", "creator": "La Voce del Padrone", "date": "1928", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630). This recording is included with others in its publisher's catalog in a section dedicated to children's records. ", "subject": "7 inches shellac record; Childhood; Education; World War I; Remembrance", "source": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "identifier": "AY 44", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0049.html" }, { "title": "La canzone del Grappa", "creator": "La Voce del Padrone", "date": "1928", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630). This recording is included with others in its publisher's catalog in a section dedicated to children's records. ", "subject": "7 inches shellac record; Childhood; Education; World War I; Remembrance", "source": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "identifier": "AY 44", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0050.html" }, { "title": "Saluto alla bandiera", "creator": "La Voce del Padrone", "date": "1928", "description": "This recording is included with others in its publisher's catalog in a section dedicated to children's records. ", "subject": "7 inches shellac record; Childhood; Education; Nation; Military", "source": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "identifier": "AY 45", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0051.html" }, { "title": "Alpes", "creator": "La Voce del Padrone", "date": "1928", "description": "This recording is included with others in its publisher's catalog in a section dedicated to children's records. ", "subject": "7 inches shellac record; Childhood; Education; Sport; Mountains", "source": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "identifier": "AY 45", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0052.html" }, { "title": "All'armi ! A noi, fascisti", "creator": "La Voce del Padrone", "date": "1929", "description": "The song \"All'armi\" was used as the hymn of the National Fascist Party when it was founded in November 1921. It glorifies the extreme violence carried out by the squadrists against the Fascists' political opponents, particularly the Communists, at the turn of the 1920s. The song Giovinezza, also used as the new party's anthem, finally became its official hymn in 1924, with a new lyrics by Salvatore Gotta.", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence", "identifier": "R 10007", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, Aprile 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0053.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1929", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "R 10007", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, Aprile 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0054.html" }, { "title": "Balilla (Inno dei fanciulli fascisti) ", "creator": "La Voce del Padrone", "date": "1927", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "R 9263", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, Aprile 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0055.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1927", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "R 9263", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, Aprile 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0056.html" }, { "title": "Inno delle piccole italiane", "creator": "La Voce del Padrone", "date": "1929", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Girls; Piccole Italiane; Opera Nazionale Balilla", "identifier": "R 10009", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, Aprile 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0057.html" }, { "title": "Saluto alla bandiera", "creator": "La Voce del Padrone", "date": "1929", "subject": "10 inches shellac record; Nation; Military", "identifier": "R 10009", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, Aprile 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0058.html" }, { "title": "Inno ufficiale della Somalia Italiana", "creator": "La Voce del Padrone", "date": "1927", "description": "The colony of Italian Somalia was created in 1889 and maintained until 1941, after being integrated into Italian East Africa, created in 1936 after Ethiopia's military defeat by Fascist Italy. It imposed a regime of discrimination, forced labor and educational deprivation on the indigenous population. ", "subject": "10 inches shellac record; Colonisation; Italian Somalia", "identifier": "R 9269", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, Aprile 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0059.html" }, { "title": "La Marcia delle Legioni (Inno imperiale)", "creator": "La Voce del Padrone", "date": "1927", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Mussolinismo; Military; Legion; Empire", "identifier": "R 9269", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, Aprile 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0060.html" }, { "title": "Mussolini", "creator": "La Voce del Padrone", "date": "1929", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo", "identifier": "R 10027", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, Aprile 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0061.html" }, { "title": "Erminia", "creator": "La Voce del Padrone", "date": "1929", "subject": "10 inches shellac record; Military", "identifier": "R 10027", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, Aprile 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0062.html" }, { "title": "Bombardamento di Adrianopoli", "creator": "La Voce del Padrone", "date": "1925", "description": "This recording is an introduction to Futurism, a modernist literary, musical and artistic movement born shortly before the First World War. Through some of its members and its brutal aesthetic, fascinated by violence, the Italian Futurist movement was close to the Fascist movement from its beginnings in 1919. After the latter came to power in 1922, Futurist artists such as Filippo Tommaso Marinetti worked for the regime, contributing to its events and cultural policies. Here, they are involved in the Fascist education of Italian children.", "subject": "10 inches shellac record; Futurism", "identifier": "R 6915", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, December 1, 1925", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0063.html" }, { "title": "Definizione del futurismo", "creator": "La Voce del Padrone", "date": "1925", "description": "This recording is an introduction to Futurism, a modernist literary, musical and artistic movement born shortly before the First World War. Through some of its members and its brutal aesthetic, fascinated by violence, the Italian Futurist movement was close to the Fascist movement from its beginnings in 1919. After the latter came to power in 1922, Futurist artists such as Filippo Tommaso Marinetti worked for the regime, contributing to its events and cultural policies. Here, they are involved in the Fascist education of Italian children.", "subject": "10 inches shellac record; Futurism", "identifier": "R 6915", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, December 1, 1925", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0064.html" }, { "title": "Messagio di S.E. Benito Mussolini al popolo nord americano ed agli italiani d'America [1/4]", "creator": "La Voce del Padrone", "date": "1929", "description": "The record of this speech by Benito Mussolini to \"the North American people and the Italians of America\" is a special propaganda object. Its labels intertwine two symbols of Fascism, an eagle standing on a fascist beam draped by an Italian flag. An advertisement for this record opened the annual catalogs of La Voce del Padrone, the record company that produced it, from 1929 and for part of the 1930s: it shows Benito Mussolini standing in his suit, hands on hips, showing a grave expression on his face.", "subject": "12 inches shellac record; Benito Mussolini; Diplomacy", "identifier": "S 4800", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0065.html" }, { "title": "Messagio di S.E. Benito Mussolini al popolo nord americano ed agli italiani d'America [2/4]", "creator": "La Voce del Padrone", "date": "1929", "description": "The record of this speech by Benito Mussolini to \"the North American people and the Italians of America\" is a special propaganda object. Its labels intertwine two symbols of Fascism, an eagle standing on a fascist beam draped by an Italian flag. An advertisement for this record opened the annual catalogs of La Voce del Padrone, the record company that produced it, from 1929 and for part of the 1930s: it shows Benito Mussolini standing in his suit, hands on hips, showing a grave expression on his face.", "subject": "12 inches shellac record; Benito Mussolini; Diplomacy", "identifier": "S 4800", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0066.html" }, { "title": "Bimbe d'Italia", "creator": "La Voce del Padrone", "date": "1930", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Girls; Piccole Italiane", "identifier": "R 10359", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0067.html" }, { "title": "Inno Ufficiale delle Giovani Italiane", "creator": "La Voce del Padrone", "date": "1930", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Youth; Opera Nazionale Balilla", "identifier": "R 10359", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0068.html" }, { "title": "Inno del Grappa", "creator": "La Voce del Padrone", "date": "1930", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "R 10360", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0069.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1930", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "R 10360", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0070.html" }, { "title": "Bimbe d'Italia", "creator": "La Voce del Padrone", "date": "1930", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271). This recording is part of a record presented in a section of its publisher's catalog dedicated to educative records, probably suitable for use in schools. ", "subject": "10 inches shellac record; Childhood; Education; Institution; Girls; Piccole Italiane", "identifier": "R 10398", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0071.html" }, { "title": "Inno Ufficiale delle Giovani Italiane", "creator": "La Voce del Padrone", "date": "1930", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271). This recording is part of a record presented in a section of its publisher's catalog dedicated to educative records, probably suitable for use in schools. ", "subject": "10 inches shellac record; Childhood; Education; Institution; Girls; Giovani Italiane", "identifier": "R 10398", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0072.html" }, { "title": "Marcia Reale", "creator": "La Voce del Padrone", "date": "1930", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism. This recording is part of a record presented in a section of its publisher's catalog dedicated to educative records, probably suitable for use in schools. ", "subject": "10 inches shellac record; Childhood; Education; Nation; Monarchy", "identifier": "R 10399", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0073.html" }, { "title": "Hymnu Sardo Nationali", "creator": "La Voce del Padrone", "date": "1930", "description": "This recording is part of a record presented in a section of its publisher's catalog dedicated to educative records, probably suitable for use in schools. ", "subject": "10 inches shellac record; Childhood; Education; Nation; Sardinia", "identifier": "R 10399", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0074.html" }, { "title": "XI Febbraio (Inno della Conciliazione)", "creator": "La Voce del Padrone", "date": "1932", "description": "This recording is published in reference to the Lateran Accords, signed on February 11, 1929 between Italy, represented by Benito Mussolini, and the Holy See. These agreements settled a political conflict that had pitted the Holy See against the Kingdom of Italy since the latter had taken Rome from the Papal States in 1870 to make it its capital. Their signature confirmed Catholicism as the state religion, defined today's Vatican City and limited the Pope's temporal power there. They served to calm political relations between the Italian state and the Holy See, while offering the regime the ultimately unsuccessful opportunity to fascize the Catholic Church.", "subject": "10 inches shellac record; Diplomacy; Vatican", "identifier": "R 10542", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0075.html" }, { "title": "Inno Pontifico", "creator": "La Voce del Padrone", "date": "1932", "description": "This recording is published in reference to the Lateran Accords, signed on February 11, 1929 between Italy, represented by Benito Mussolini, and the Holy See. These agreements settled a political conflict that had pitted the Holy See against the Kingdom of Italy since the latter had taken Rome from the Papal States in 1870 to make it its capital. Their signature confirmed Catholicism as the state religion, defined today's Vatican City and limited the Pope's temporal power there. They served to calm political relations between the Italian state and the Holy See, while offering the regime the ultimately unsuccessful opportunity to fascize the Catholic Church.", "subject": "10 inches shellac record; Diplomacy; Vatican", "identifier": "R 10542", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0076.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1933", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth; Childhood; Education", "identifier": "GW 123", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0077.html" }, { "title": "Balilla !", "creator": "La Voce del Padrone", "date": "1933", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "GW 123", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0078.html" }, { "title": "La canzone del Grappa", "creator": "La Voce del Padrone", "date": "1933", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; Childhood; World War I; Remembrance", "identifier": "GW 124", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0079.html" }, { "title": "La leggenda del Piave", "creator": "La Voce del Padrone", "date": "1933", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; Childhood; World War I; Remembrance", "identifier": "GW 124", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0080.html" }, { "title": "Tantum ergo", "creator": "La Voce del Padrone", "date": "1932", "description": "This recording is published in reference to the Lateran Accords, signed on February 11, 1929 between Italy, represented by Benito Mussolini, and the Holy See. These agreements settled a political conflict that had pitted the Holy See against the Kingdom of Italy since the latter had taken Rome from the Papal States in 1870 to make it its capital. Their signature confirmed Catholicism as the state religion, defined today's Vatican City and limited the Pope's temporal power there. They served to calm political relations between the Italian state and the Holy See, while offering the regime the ultimately unsuccessful opportunity to fascize the Catholic Church.", "subject": "10 inches shellac record; Diplomacy; Vatican", "identifier": "R 10541", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0081.html" }, { "title": "XI Febbraio (Inno della Conciliazione)", "creator": "La Voce del Padrone", "date": "1932", "description": "This recording is published in reference to the Lateran Accords, signed on February 11, 1929 between Italy, represented by Benito Mussolini, and the Holy See. These agreements settled a political conflict that had pitted the Holy See against the Kingdom of Italy since the latter had taken Rome from the Papal States in 1870 to make it its capital. Their signature confirmed Catholicism as the state religion, defined today's Vatican City and limited the Pope's temporal power there. They served to calm political relations between the Italian state and the Holy See, while offering the regime the ultimately unsuccessful opportunity to fascize the Catholic Church.", "subject": "10 inches shellac record; Diplomacy; Vatican", "identifier": "R 10541", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0082.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1933", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "R 11035", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0083.html" }, { "title": "Inno del Decennale", "creator": "La Voce del Padrone", "date": "1933", "description": "Inno del Decennale\" celebrates the 10th anniversary of the rise to power of Benito Mussolini and the National Fascist Party. Written by Sardinian musicologist and director of the Discoteca di Stato Gavino Gabriel, and composed by Umberto Giordano, it brings together all the clichés of the Fascist imaginary (Romanità, heroism, martyrdom, empire) and glorifies \"Italian civilization\". Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Remembrance; Mussolinismo; Romanità; Martyr", "identifier": "R 11035", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0084.html" }, { "title": "Inno dei combattenti (Canto della Vittoria)", "creator": "La Voce del Padrone", "date": "1933", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "R 11089", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0085.html" }, { "title": "La leggenda del Piave", "creator": "La Voce del Padrone", "date": "1933", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "R 11089", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0086.html" }, { "title": "Marcia del Littoriale (Marcia della M.V.S.N.)", "creator": "La Voce del Padrone", "date": "1932", "description": "This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "R 10788", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0087.html" }, { "title": "Rusticanella (Quando passano le legioni)", "creator": "La Voce del Padrone", "date": "1932", "description": "This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "R 10788", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0088.html" }, { "title": "Deambulazione, Marcia ginnastica; Doppiare e sdoppiare in marcia can \"La Canzone del Grappa\"", "creator": "La Voce del Padrone", "date": "1933", "description": "These physical education courses were designed to meet one of the concerns of the Fascist regime: to train vigorous future workers and soldiers capable of fulfilling its desires for imperial \" grandeur \". They were probably taught by physiologist and teacher Silvestro Baglioni.", "subject": "10 inches shellac record; Childhood; Education; Sport", "identifier": "GW 146", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0089.html" }, { "title": "Deambulazione, Marcia ginnastica; Segnare il passo; Ordinamento ternario in linea, con \"La leggenda del Piave\"", "creator": "La Voce del Padrone", "date": "1933", "description": "These physical education courses were designed to meet one of the concerns of the Fascist regime: to train vigorous future workers and soldiers capable of fulfilling its desires for imperial \" grandeur \". They were probably taught by physiologist and teacher Silvestro Baglioni.", "subject": "10 inches shellac record; Childhood; Education; Sport", "identifier": "GW 146", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0090.html" }, { "title": "Deambulazione, Evoluzioni in cadenza ordinaria; Doppiamento e sdoppiamento delle file con l'uso delle contromarcie, con la marcetta \"Per te sarò tenente\"", "creator": "La Voce del Padrone", "date": "1933", "description": "These physical education courses were designed to meet one of the concerns of the Fascist regime: to train vigorous future workers and soldiers capable of fulfilling its desires for imperial \" grandeur \". They were probably taught by physiologist and teacher Silvestro Baglioni.", "subject": "10 inches shellac record; Childhood; Education; Sport", "identifier": "GW 147", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0091.html" }, { "title": "Deambulazione, Evoluzioni in cadenza ordinaria con l'uso delle doppie contromarcie, con \" Le Aquile di Roma \"", "creator": "La Voce del Padrone", "date": "1933", "description": "These physical education courses were designed to meet one of the concerns of the Fascist regime: to train vigorous future workers and soldiers capable of fulfilling its desires for imperial \" grandeur \". They were probably taught by physiologist and teacher Silvestro Baglioni.", "subject": "10 inches shellac record; Childhood; Education; Sport", "identifier": "GW 147", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0092.html" }, { "title": "Deambulazione, Marcia ginnastica libera individuale; Marcia ginnastica libera per coppie con la marcia \"Balilla\"", "creator": "La Voce del Padrone", "date": "1933", "description": "These physical education courses were designed to meet one of the concerns of the Fascist regime: to train vigorous future workers and soldiers capable of fulfilling its desires for imperial \" grandeur \". They were probably taught by physiologist and teacher Silvestro Baglioni.", "subject": "10 inches shellac record; Childhood; Education; Sport", "identifier": "GW 148", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0093.html" }, { "title": "Deambulazione, Corza cadenzata ginnastica, con la marcetta \"Per te sarò tenente\"", "creator": "La Voce del Padrone", "date": "1933", "description": "These physical education courses were designed to meet one of the concerns of the Fascist regime: to train vigorous future workers and soldiers capable of fulfilling its desires for imperial \" grandeur \". They were probably taught by physiologist and teacher Silvestro Baglioni.", "subject": "10 inches shellac record; Childhood; Education; Sport", "identifier": "GW 148", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0094.html" }, { "title": "Esercizi elementari educativi, Slancio degli arti inferiori; Piegamento sulle ginocchia (soli comandi senza orchestra)", "creator": "La Voce del Padrone", "date": "1933", "description": "These physical education courses were designed to meet one of the concerns of the Fascist regime: to train vigorous future workers and soldiers capable of fulfilling its desires for imperial \" grandeur \". They were probably taught by physiologist and teacher Silvestro Baglioni.", "subject": "10 inches shellac record; Childhood; Education; Sport", "identifier": "GW 149", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0095.html" }, { "title": "Esercizi elementari educativi, Slancio degli arti inferiori (soli comandi senza orchestra)", "creator": "La Voce del Padrone", "date": "1933", "description": "These physical education courses were designed to meet one of the concerns of the Fascist regime: to train vigorous future workers and soldiers capable of fulfilling its desires for imperial \" grandeur \". They were probably taught by physiologist and teacher Silvestro Baglioni.", "subject": "10 inches shellac record; Childhood; Education; Sport", "identifier": "GW 149", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0096.html" }, { "title": "La Guerra Aerochimica (Introduzione parte I)", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording belongs to a series of records produced under the official control of the Italian War Ministry's Chemical-Military Service Directorate. They were published as part of a campaign to inform the civilian population about how to defend themselves in the event of an attack using asphyxiating gas. It should be noted that the Italian army used mustard gas, despite its ban, during the second Italo-Ethiopian conflict (See T. C. Gino Pellegrini, \" La Guerra Chimica e la Popolazione Civile \", Radiocorriere, February 3, 1935).", "subject": "10 inches shellac record; War; Institution; Ministry", "identifier": "numero 72", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0097.html" }, { "title": "La Guerra Aerochimica (Introduzione parte II)", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording belongs to a series of records produced under the official control of the Italian War Ministry's Chemical-Military Service Directorate. They were published as part of a campaign to inform the civilian population about how to defend themselves in the event of an attack using asphyxiating gas. It should be noted that the Italian army used mustard gas, despite its ban, during the second Italo-Ethiopian conflict (See T. C. Gino Pellegrini, \" La Guerra Chimica e la Popolazione Civile \", Radiocorriere, February 3, 1935).", "subject": "10 inches shellac record; War; Institution; Ministry", "identifier": "numero 72", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0098.html" }, { "title": "La Guerra Aerochimica (Generalità)", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording belongs to a series of records produced under the official control of the Italian War Ministry's Chemical-Military Service Directorate. They were published as part of a campaign to inform the civilian population about how to defend themselves in the event of an attack using asphyxiating gas. It should be noted that the Italian army used mustard gas, despite its ban, during the second Italo-Ethiopian conflict (See T. C. Gino Pellegrini, \" La Guerra Chimica e la Popolazione Civile \", Radiocorriere, February 3, 1935).", "subject": "10 inches shellac record; War; Institution; Ministry", "identifier": "numero 54", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0099.html" }, { "title": "La Guerra Aerochimica (I mezzi d'impiego degli aggressivi chimici)", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording belongs to a series of records produced under the official control of the Italian War Ministry's Chemical-Military Service Directorate. They were published as part of a campaign to inform the civilian population about how to defend themselves in the event of an attack using asphyxiating gas. It should be noted that the Italian army used mustard gas, despite its ban, during the second Italo-Ethiopian conflict (See T. C. Gino Pellegrini, \" La Guerra Chimica e la Popolazione Civile \", Radiocorriere, February 3, 1935).", "subject": "10 inches shellac record; War; Institution; Ministry", "identifier": "numero 54", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0100.html" }, { "title": "La Guerra Aerochimica (La difesa individuale contro gli aggressivi chimici)", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording belongs to a series of records produced under the official control of the Italian War Ministry's Chemical-Military Service Directorate. They were published as part of a campaign to inform the civilian population about how to defend themselves in the event of an attack using asphyxiating gas. It should be noted that the Italian army used mustard gas, despite its ban, during the second Italo-Ethiopian conflict (See T. C. Gino Pellegrini, \" La Guerra Chimica e la Popolazione Civile \", Radiocorriere, February 3, 1935).", "subject": "10 inches shellac record; War; Institution; Ministry", "identifier": "numero 55", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0101.html" }, { "title": "La Guerra Aerochimica (La difesa collettiva contro gli aggressivi chimici)", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording belongs to a series of records produced under the official control of the Italian War Ministry's Chemical-Military Service Directorate. They were published as part of a campaign to inform the civilian population about how to defend themselves in the event of an attack using asphyxiating gas. It should be noted that the Italian army used mustard gas, despite its ban, during the second Italo-Ethiopian conflict (See T. C. Gino Pellegrini, \" La Guerra Chimica e la Popolazione Civile \", Radiocorriere, February 3, 1935).", "subject": "10 inches shellac record; War; Institution; Ministry", "identifier": "numero 55", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0102.html" }, { "title": "La Guerra Aerochimica", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording belongs to a series of records produced under the official control of the Italian War Ministry's Chemical-Military Service Directorate. They were published as part of a campaign to inform the civilian population about how to defend themselves in the event of an attack using asphyxiating gas. It should be noted that the Italian army used mustard gas, despite its ban, during the second Italo-Ethiopian conflict (See T. C. Gino Pellegrini, \" La Guerra Chimica e la Popolazione Civile \", Radiocorriere, February 3, 1935).", "subject": "10 inches shellac record; War; Institution; Ministry", "identifier": "numero 56", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0103.html" }, { "title": "La Guerra Aerochimica (La coscienza chimica)", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording belongs to a series of records produced under the official control of the Italian War Ministry's Chemical-Military Service Directorate. They were published as part of a campaign to inform the civilian population about how to defend themselves in the event of an attack using asphyxiating gas. It should be noted that the Italian army used mustard gas, despite its ban, during the second Italo-Ethiopian conflict (See T. C. Gino Pellegrini, \" La Guerra Chimica e la Popolazione Civile \", Radiocorriere, February 3, 1935).", "subject": "10 inches shellac record; War; Institution; Ministry", "identifier": "numero 56", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0104.html" }, { "title": "XI Febbaio (Inno della Conciliazione)", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording is published in reference to the Lateran Accords, signed on February 11, 1929 between Italy, represented by Benito Mussolini, and the Holy See. These agreements settled a political conflict that had pitted the Holy See against the Kingdom of Italy since the latter had taken Rome from the Papal States in 1870 to make it its capital. Their signature confirmed Catholicism as the state religion, defined today's Vatican City and limited the Pope's temporal power there. They served to calm political relations between the Italian state and the Holy See, while offering the regime the ultimately unsuccessful opportunity to fascize the Catholic Church.", "subject": "10 inches shellac record; Diplomacy; Vatican", "identifier": "HN 570", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0105.html" }, { "title": "Tantum ergo", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording is published in reference to the Lateran Accords, signed on February 11, 1929 between Italy, represented by Benito Mussolini, and the Holy See. These agreements settled a political conflict that had pitted the Holy See against the Kingdom of Italy since the latter had taken Rome from the Papal States in 1870 to make it its capital. Their signature confirmed Catholicism as the state religion, defined today's Vatican City and limited the Pope's temporal power there. They served to calm political relations between the Italian state and the Holy See, while offering the regime the ultimately unsuccessful opportunity to fascize the Catholic Church.", "subject": "10 inches shellac record; Diplomacy; Vatican", "identifier": "HN 570", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0106.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1934", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "HN 314", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0107.html" }, { "title": "Inno del Grappa", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "HN 314", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0108.html" }, { "title": "La leggenda del Piave", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "HN 315", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0109.html" }, { "title": "Inno dei combattenti (Ufficiale) \"Canto della Vittoria\"", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "HN 315", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0110.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1934", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "HN 568", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0111.html" }, { "title": "All'armi ! A noi, fascisti", "creator": "La Voce del Padrone", "date": "1934", "description": "The song \"All'armi\" was used as the hymn of the National Fascist Party when it was founded in November 1921. It glorifies the extreme violence carried out by the squadrists against the Fascists' political opponents, particularly the Communists, at the turn of the 1920s. The song Giovinezza, also used as the new party's anthem, finally became its official hymn in 1924, with a new lyrics by Salvatore Gotta.", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence", "identifier": "HN 568", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0112.html" }, { "title": "Inno Ufficiale delle Giovani Italiane", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Girls; Giovani Italiane", "identifier": "HN 569", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0113.html" }, { "title": "Bimbe d'Italia", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Girls; Piccole Italiane", "identifier": "HN 569", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0114.html" }, { "title": "Inno all'amicizia Italo-Ungherese", "creator": "La Voce del Padrone", "date": "1934", "description": "During the ventennio, national anthems and other songs representative of a nation are sometimes released on record at a time when the Fascist regime has very good relations, or an alliance, with a foreign nation. Releasing these foreign anthems on record was probably a way of representing these diplomatic relations and cultivating a feeling of sympathy, even closeness, between the peoples of the nations involved.", "subject": "10 inches shellac record; Diplomacy; Hungary", "identifier": "GW 251", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0115.html" }, { "title": "Inno alla bandiera", "creator": "La Voce del Padrone", "date": "1934", "subject": "10 inches shellac record; Nation", "identifier": "GW 251", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0116.html" }, { "title": "Inno Ufficiale della Terza Armata", "creator": "La Voce del Padrone", "date": "1934", "subject": "10 inches shellac record; World War I; Remembrance; Military; Institution; Terza Armata", "identifier": "GW 255", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0117.html" }, { "title": "Dopolavoro", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording represents the Opera Nazionale Dopolavoro (OND) or participates in promoting the leisure policy it implements. Created in 1925 by the regime, the OND was aimed at workers, whose unions it intended to replace (the site of an intolerable socialist policy opposed with great violence) and to organize leisure time (\"Dopolavoro\"). By bringing together several thousand workers' associations engaged in a wide range of activities, and directing them in line with Fascist policies, the OND enabled the regime to put down roots in the world of work, organize a significant part of Italians' leisure time by mixing politics and culture, and invest a little more of their private lives. In this way, it contributed to the realization of Fascist totalitarianism (see Victoria De Grazia, \"Dopolavoro\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, pp. 443-447).", "subject": "10 inches shellac record; Institution; Leisure; Opera Nazionale Dopolavoro", "identifier": "GW 255", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0118.html" }, { "title": "Inno Ufficiale delle Giovani Italiane", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording belongs to an \"educational\" record, probably used in schools, and presented as such in its publisher's catalog in a section dedicated to records for teaching by singing.", "subject": "10 inches shellac record; Childhood; Education; Institution; Girls; Giovani Italiane", "identifier": "GW 716", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0119.html" }, { "title": "Bimbe d'Italia", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271). This recording belongs to an \"educational\" record, probably used in schools, and presented as such in its publisher's catalog in a section dedicated to records for teaching by singing.", "subject": "10 inches shellac record; Childhood; Education; Institution; Girls; Piccole Italiane", "identifier": "GW 716", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0120.html" }, { "title": "Hymnu Sardo Nationali", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording belongs to an \"educational\" record, probably used in schools, and presented as such in its publisher's catalog in a section dedicated to records for teaching by singing.", "subject": "10 inches shellac record; Childhood; Education; Nation; Sardinia", "identifier": "GW 717", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0121.html" }, { "title": "Marcia Reale", "creator": "La Voce del Padrone", "date": "1934", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism. This recording belongs to an \"educational\" record, probably used in schools, and presented as such in its publisher's catalog in a section dedicated to records for teaching by singing.", "subject": "10 inches shellac record; Childhood; Education; Monarchy; Nation; Risorgimento", "identifier": "GW 717", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0122.html" }, { "title": "Inno degli Universitari Fascisti", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording represents fascist university and student organizations.", "subject": "10 inches shellac record; Youth; Institution; Studenti Universitari Fascisti", "identifier": "GW 727", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0123.html" }, { "title": "Marcia delle Legioni (Inno Imperiale)", "creator": "La Voce del Padrone", "date": "1934", "description": "The main subjects of this recording are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Mussolinismo; Military; Legion; Empire", "identifier": "GW 727", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0124.html" }, { "title": "Inno dei Balilla Moschettieri", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Military; Balilla Moschettieri; Opera Nazionale Balilla", "source": "Corriere Musicale Rassegna Fonografica, February 15 - March 15, 1935", "identifier": "GW 954", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0125.html" }, { "title": "Inno a Roma", "creator": "La Voce del Padrone", "date": "1935", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "source": "Corriere Musicale Rassegna Fonografica, February 15 - March 15, 1935", "identifier": "GW 954", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0126.html" }, { "title": "Dux", "creator": "La Voce del Padrone", "date": "1935", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo; Childhood; Education", "source": "Corriere Musicale Rassegna Fonografica, February 15 - March 15, 1935", "identifier": "GW 956", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0127.html" }, { "title": "Canzone marinara", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Navy; Boys; Opera Nazionale Balilla", "source": "Corriere Musicale Rassegna Fonografica, February 15 - March 15, 1935", "identifier": "GW 956", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0128.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1934", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "HN 552", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0129.html" }, { "title": "All'armi ! A noi, fascisti ", "creator": "La Voce del Padrone", "date": "1934", "description": "The song \"All'armi\" was used as the hymn of the National Fascist Party when it was founded in November 1921. It glorifies the extreme violence carried out by the squadrists against the Fascists' political opponents, particularly the Communists, at the turn of the 1920s. The song Giovinezza, also used as the new party's anthem, finally became its official hymn in 1924, with a new lyrics by Salvatore Gotta.", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence", "identifier": "HN 552", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0130.html" }, { "title": "Il Canto del lavoro", "creator": "La Voce del Padrone", "date": "1934", "description": "This song is a Fascist celebration of work and its contribution to the homeland. Composed by Pietro Mascagni, one of the most popular living Italian composers, it is introduced by a propaganda text in the catalog of the record company La Voce del Padrone dated October 1, 1929 (p. 220): \"The new Italy, the Italy that marches confidently towards the future under the aegis of the Fascio Littorio, symbol of imperishable Romanity, today has its ‘Canto del Lavoro’, a veritable hymn of joy, glorifying the conquests of hard-won labor in the workshops and among the clods of mother earth; the idea of ‘Patria’ (Homeland) reigns supreme and is expressed with accents of the purest enthusiasm\". Edmondo Rossoni and Libero Bovio wrote this vibrant, passionate poem, and Pietro Mascagni set it to music with the irresistible élan of his fiery imagination. Conceived by Rossoni in the bitterness of his pre-war exile, \"Il Canto del Lavoro\" powerfully expresses the sorrows and dazzling joys of those who live by their work. The performances, entrusted to La Scala choristers and orchestra teachers under the direction of Mo. Mascagni himself, and the Corpo Musicale della R. Marina Italiana (Mo. Aghemo), were nothing short of impressive.\"", "subject": "10 inches shellac record; Work", "identifier": "HN 558", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0131.html" }, { "title": "Marcia della Vittoria", "creator": "La Voce del Padrone", "date": "1934", "subject": "10 inches shellac record; Military", "identifier": "HN 558", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0132.html" }, { "title": "XI Febbaio (Inno della Conciliazione)", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording is published in reference to the Lateran Accords, signed on February 11, 1929 between Italy, represented by Benito Mussolini, and the Holy See. These agreements settled a political conflict that had pitted the Holy See against the Kingdom of Italy since the latter had taken Rome from the Papal States in 1870 to make it its capital. Their signature confirmed Catholicism as the state religion, defined today's Vatican City and limited the Pope's temporal power there. They served to calm political relations between the Italian state and the Holy See, while offering the regime the ultimately unsuccessful opportunity to fascize the Catholic Church.", "subject": "10 inches shellac record; Diplomacy; Vatican", "identifier": "HN 571", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0133.html" }, { "title": "Inno Pontifico", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording is published in reference to the Lateran Accords, signed on February 11, 1929 between Italy, represented by Benito Mussolini, and the Holy See. These agreements settled a political conflict that had pitted the Holy See against the Kingdom of Italy since the latter had taken Rome from the Papal States in 1870 to make it its capital. Their signature confirmed Catholicism as the state religion, defined today's Vatican City and limited the Pope's temporal power there. They served to calm political relations between the Italian state and the Holy See, while offering the regime the ultimately unsuccessful opportunity to fascize the Catholic Church.", "subject": "10 inches shellac record; Diplomacy; Vatican", "identifier": "HN 571", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0134.html" }, { "title": "Fanfara e Marcia reale", "creator": "La Voce del Padrone", "date": "1934", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Nation; Risorgimento", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1934", "identifier": "HN 692", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0135.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1934", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1934", "identifier": "HN 692", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0136.html" }, { "title": "Inno ufficiale dei Giovani Fascisti", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "10 inches shellac record; Youth; Institution; Giovani Fascisti", "identifier": "GW 290", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0137.html" }, { "title": "Inno ufficiale degli Studenti Universitari Fascisti", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording represents fascist university and student organizations.", "subject": "10 inches shellac record; Youth; Institution; Studenti Universitari Fascisti", "identifier": "GW 290", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0138.html" }, { "title": "Squillo Ufficiale delle Università d'Italia (in \" Si bem \")", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording represents fascist university and student organizations.", "subject": "10 inches shellac record; Youth; Institution; Studenti Universitari Fascisti", "identifier": "GW 291", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0139.html" }, { "title": "Inno ufficiale degli Studenti Universitari Fascisti", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording represents fascist university and student organizations.", "subject": "10 inches shellac record; Youth; Institution; Studenti Universitari Fascisti", "identifier": "GW 291", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0140.html" }, { "title": "Inno ufficiale della Somalia Italiana", "creator": "La Voce del Padrone", "date": "1927", "description": "The colony of Italian Somalia was created in 1889 and maintained until 1941, after being integrated into Italian East Africa, created in 1936 after Ethiopia's military defeat by Fascist Italy. It imposed a regime of discrimination, forced labor and educational deprivation on the indigenous population. ", "subject": "10 inches shellac record; Colonisation; Italian Somalia", "identifier": "GW 595", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0141.html" }, { "title": "La Marcia delle Legioni (Inno imperiale)", "creator": "La Voce del Padrone", "date": "1927", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Mussolinismo; Military; Legion; Empire", "identifier": "GW 595", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0142.html" }, { "title": "Balilla (Inno dei fanciulli fascisti)", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "GW 724", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0143.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1934", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "GW 724", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0144.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1934", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1934", "identifier": "GW 861", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0145.html" }, { "title": "Fanfara e Marcia reale", "creator": "La Voce del Padrone", "date": "1934", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Nation; Risorgimento", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1934", "identifier": "GW 861", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0146.html" }, { "title": "Marcia Reale", "creator": "La Voce del Padrone", "date": "1934", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Nation; Risorgimento", "source": "Corriere Musicale Rassegna Fonografica, December 15, 1934", "identifier": "GW 910", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0147.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1934", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "source": "Corriere Musicale Rassegna Fonografica, December 15, 1934", "identifier": "GW 910", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0148.html" }, { "title": "Marcia del Littoriale", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "HN 562", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0149.html" }, { "title": "Rusticanella", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "HN 562", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0150.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1934", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "HN 573", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0151.html" }, { "title": "Inno del Decennale", "creator": "La Voce del Padrone", "date": "1934", "description": "Inno del Decennale\" celebrates the 10th anniversary of the rise to power of Benito Mussolini and the National Fascist Party. Written by Sardinian musicologist and director of the Discoteca di Stato Gavino Gabriel, and composed by Umberto Giordano, it brings together all the clichés of the Fascist imaginary (Romanità, heroism, martyrdom, empire) and glorifies \"Italian civilization\". Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Remembrance; Mussolinismo; Romanità; Martyr", "identifier": "HN 573", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0152.html" }, { "title": "Inno dei Balilla Escursionisti", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla; Leisure", "identifier": "HN 878", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0153.html" }, { "title": "Inno dei Balilla Moschettieri", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla; Military; Balilla Moschettieri", "identifier": "HN 878", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0154.html" }, { "title": "Balilla", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "GW 1047", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0155.html" }, { "title": "Bimbe d'Italia", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Girls; Piccole Italiane; Opera Nazionale Balilla", "identifier": "GW 1047", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0156.html" }, { "title": "Inno del Finanziere", "creator": "La Voce del Padrone", "date": "1935", "description": "This record represents the Regia Guardia di Finanza (Royal Guard of Finance). Created in 1862 to control customs in the newly-created Kingdom of Italy during the Risorgimento (the process of Italian unification), its 12,000 men played a full part in the First World War. Shortly after coming to power, the Fascist regime transformed it from a customs police force into a tax investigation police force.", "subject": "10 inches shellac record; Institution; Regia Guardia di Finanza; Military; Risorgimento", "identifier": "GW 1050", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0157.html" }, { "title": "Preghiera del finanziere", "creator": "La Voce del Padrone", "date": "1935", "description": "This record represents the Regia Guardia di Finanza (Royal Guard of Finance). Created in 1862 to control customs in the newly-created Kingdom of Italy during the Risorgimento (the process of Italian unification), its 12,000 men played a full part in the First World War. Shortly after coming to power, the Fascist regime transformed it from a customs police force into a tax investigation police force.", "subject": "10 inches shellac record; Institution; Regia Guardia di Finanza; Military; Risorgimento", "identifier": "GW 1050", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0158.html" }, { "title": "La Preghiera della Patria ", "creator": "La Voce del Padrone", "date": "1935", "subject": "10 inches shellac record; Childhood; Education; Monarchy; Nation; Risorgimento", "source": "Corriere Musicale Rassegna Fonografica, February 15 - March 15, 1935", "identifier": "GW 955", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0159.html" }, { "title": "Inno al fante", "creator": "La Voce del Padrone", "date": "1935", "subject": "10 inches shellac record; Military; Institution; Childhood; Education; Girls", "source": "Corriere Musicale Rassegna Fonografica, February 15 - March 15, 1935", "identifier": "GW 955", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0160.html" }, { "title": "Alla Milizia Fascista", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "GW 1059", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0161.html" }, { "title": "Marcia militare (Su spunti melodici del \" Finanziere \")", "creator": "La Voce del Padrone", "date": "1935", "description": "This record represents the Regia Guardia di Finanza (Royal Guard of Finance). Created in 1862 to control customs in the newly-created Kingdom of Italy during the Risorgimento (the process of Italian unification), its 12,000 men played a full part in the First World War. Shortly after coming to power, the Fascist regime transformed it from a customs police force into a tax investigation police force.", "subject": "10 inches shellac record; Institution; Regia Guardia di Finanza; Military; Risorgimento", "identifier": "GW 1059", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0162.html" }, { "title": "Erminia", "creator": "La Voce del Padrone", "date": "1935", "subject": "10 inches shellac record; Military", "identifier": "GW 858", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0163.html" }, { "title": "Mussolini (Marcia trionfale)", "creator": "La Voce del Padrone", "date": "1935", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo", "identifier": "GW 858", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0164.html" }, { "title": "Rex", "creator": "La Voce del Padrone", "date": "1934", "subject": "10 inches shellac record; Partito Nazionale Fascista", "identifier": "GW 188", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0165.html" }, { "title": "Littoria", "creator": "La Voce del Padrone", "date": "1934", "description": "Littoria (now Latina) is a city built by the Fascist regime from June 1932, and inaugurated by Benito Mussolini in December 1932. It is located in the former Pontine marshes south of Rome, which Mussolini had drained in 1928 as part of his \"Battle of the Grain\" (Battaglia del grano) agricultural production policy. Built in a territory that had been \" reclaimed ‘ (Bonifica), i.e. transformed to achieve a policy objective, Littoria was used by Fascist propaganda as an example of the success of one of the regime's ’great works\".", "subject": "10 inches shellac record; Littoria; Town", "identifier": "GW 188", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0166.html" }, { "title": "Frecce nere (Canzone dedicata ai legionari di Spagna)", "creator": "La Voce del Padrone", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Legion; Institution; Corpo Truppe Volontarie", "identifier": "HN 1292", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, November 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0167.html" }, { "title": "Spagonlita (Canzone dedicata al Gen. Franco)", "creator": "La Voce del Padrone", "date": "1937", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Francisco Franco", "identifier": "HN 1292", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, November 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0168.html" }, { "title": "Guadalajara (Canzone dedicata alle eroiche \"Frecce nere\" delle Legioni di Spagna)", "creator": "La Voce del Padrone", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Spanish Civil War; Military; Legion; Institution; Corpo Truppe Volontarie", "identifier": "HN 1307", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, November 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0169.html" }, { "title": "Spagnolita (Canzone dedicata al Gen. Franco)", "creator": "La Voce del Padrone", "date": "1937", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Francisco Franco", "identifier": "HN 1307", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, November 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0170.html" }, { "title": "Bimbe d'Italia", "creator": "La Voce del Padrone", "date": "1937", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Girls; Piccole Italiane; Opera Nazionale Balilla", "identifier": "HN 1253", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, November 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0171.html" }, { "title": "Saluto al Duce !", "creator": "La Voce del Padrone", "date": "1937", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271). Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Childhood; Education; Mussolinismo; Institution; Boys; Opera Nazionale Balilla", "identifier": "HN 1253", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, November 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0172.html" }, { "title": "Frecce nere", "creator": "La Voce del Padrone", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Legion; Institution; Corpo Truppe Volontarie", "identifier": "HN 1291", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, November 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0173.html" }, { "title": "La Canzone di Maria Uva ", "creator": "La Voce del Padrone", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). Maria Uva, a French national of Italian origin living in Egypt, became famous in Italy and among the soldiers leaving for the Ethiopian war for celebrating and encouraging them on their journey through the Suez Canal. She was nicknamed \"la Madonnina dei legionari\", embodying a protective, maternal figure.", "subject": "10 inches shellac record; War; Ethiopia; Military; Legion; Spanish Civil War", "identifier": "HN 1291", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, November 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0174.html" }, { "title": "Inno a Roma", "creator": "La Voce del Padrone", "date": "1936", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "identifier": "HN 554", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0175.html" }, { "title": "Rusticanella", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "HN 554", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0176.html" }, { "title": "Gioventù d'Italia", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; Military; War; Victory", "identifier": "GW 1058", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0177.html" }, { "title": "Sfilano le armate vittoriose", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; Military; War; Victory", "identifier": "GW 1058", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0178.html" }, { "title": "I Bersaglieri Neri - \"La Canzone dei Dubat \"", "creator": "La Voce del Padrone", "date": "1936", "description": "The colony of Italian Somalia was created in 1889 and maintained until 1941, after being integrated into Italian East Africa, created in 1936 after Ethiopia's military defeat by Fascist Italy. It imposed a regime of discrimination, forced labor and educational deprivation on the indigenous population. ", "subject": "10 inches shellac record; Military; Institution; Bersaglieri; Colonisation; Italian Somalia; Remembrance; War", "identifier": "GW 1247", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0179.html" }, { "title": "L'Arafa al Villaggio Ducca degli Abruzzi", "creator": "La Voce del Padrone", "date": "1936", "description": "The colony of Italian Somalia was created in 1889 and maintained until 1941, after being integrated into Italian East Africa, created in 1936 after Ethiopia's military defeat by Fascist Italy. It imposed a regime of discrimination, forced labor and educational deprivation on the indigenous population. ", "subject": "10 inches shellac record; Colonisation; Italian Somalia; Town", "identifier": "GW 1247", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0180.html" }, { "title": "Ala Imperiale \"Ala d'Italia\"", "creator": "La Voce del Padrone", "date": "1936", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Military; Aviation", "identifier": "GW 1181", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0181.html" }, { "title": "Inno Ufficiale dei Combattenti", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; Military", "identifier": "GW 1181", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0182.html" }, { "title": "Combattenti a noi", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is the anthem of the 6th CC.NN. Division \" Tevere \", created especially for the Second Italo-Ethiopian War", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Military; Institution; Division Tevere", "identifier": "GW 1180", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0183.html" }, { "title": "Diana d'Italia (Inno A.O.)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Victory; Empire", "identifier": "GW 1180", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0184.html" }, { "title": "Duce, a noi !", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271). Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo; Empire; Childhood; Education; Institution; Boys; Opera Nazionale Balilla; Balilla Moschettieri; Military", "identifier": "HN 1063", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0185.html" }, { "title": "Inno imperiale", "creator": "La Voce del Padrone", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Mussolinismo; Military; Legion; Empire; Childhood; Education", "identifier": "HN 1063", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0186.html" }, { "title": "Duce, a noi !", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271). Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo; Empire; Childhood; Education; Institution; Boys; Opera Nazionale Balilla; Balilla Moschettieri; Military", "identifier": "HN 1066", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0187.html" }, { "title": "Inno dei combattenti d'Italia", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; Childhood; Education; War", "identifier": "HN 1066", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0188.html" }, { "title": "Etiopia", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa. It is dedicated to Benito Mussolini, \" Founder of the Empire \".", "subject": "10 inches shellac record; Ethiopia; Victory; Empire", "identifier": "HN 1137", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0189.html" }, { "title": "Sappiamo tre parole", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; War, Ethiopia; Institution; Opera Nazionale Balilla", "identifier": "HN 1137", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0190.html" }, { "title": "Fanti d'Italia avanti !…", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; Military; War; Institution", "identifier": "HN 990", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0191.html" }, { "title": "Sanzionismo", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; Ethiopie; War", "identifier": "HN 990", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0192.html" }, { "title": "Giovani Fascisti", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "10 inches shellac record; Youth; Institution; Giovani Fascisti", "identifier": "HN 1060", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0193.html" }, { "title": "Inno a Roma", "creator": "La Voce del Padrone", "date": "1936", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "identifier": "HN 1060", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0194.html" }, { "title": "Inno dei Figli della Lupa", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla; Figlio della Lupa", "identifier": "HN 1107", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0195.html" }, { "title": "Rataplan della vittoria", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa. It is dedicated to Benito Mussolini, \" Founder of the Empire \".", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory; Childhood; Education", "identifier": "HN 1107", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0196.html" }, { "title": "Faccetta nera", "creator": "La Voce del Padrone", "date": "1936", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Empire; African Women", "identifier": "GW 1196", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0197.html" }, { "title": "Adua", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "GW 1196", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0198.html" }, { "title": "Adua", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "GW 1188", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0199.html" }, { "title": "Macallè (\" Ritorna Galliano \")", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory; Martyr", "identifier": "GW 1188", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0200.html" }, { "title": "Adua", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Victory", "identifier": "GW 1206", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0201.html" }, { "title": "Vieni a Macallè", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Victory; Empire", "identifier": "GW 1206", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0202.html" }, { "title": "Canzone dell'Impero (Italia in marcia)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Victory; Empire", "identifier": "HN 1021", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0203.html" }, { "title": "Vittoria", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Memorialization; War; Ethiopia; Empire; Victory", "identifier": "HN 1021", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0204.html" }, { "title": "Eritrea (marcia orientale) [1/2]", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Colonisation; Ethiopia; Empire", "identifier": "GW 1051", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0205.html" }, { "title": "Eritrea (marcia orientale) [2/2]", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Colonisation; Ethiopia; Empire", "identifier": "GW 1051", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0206.html" }, { "title": "Impero fascista", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; Colonisation; Ethiopia; Empire", "identifier": "HN 1062", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0207.html" }, { "title": "Tramonti Somali", "creator": "La Voce del Padrone", "date": "1936", "description": "The colony of Italian Somalia was created in 1889 and maintained until 1941, after being integrated into Italian East Africa, created in 1936 after Ethiopia's military defeat by Fascist Italy. It imposed a regime of discrimination, forced labor and educational deprivation on the indigenous population. ", "subject": "10 inches shellac record; Colonisation; Italian Somalia; Empire", "identifier": "HN 1062", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0208.html" }, { "title": "Italia ha vinto", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory; Empire", "identifier": "HN 1061", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0209.html" }, { "title": "La Canzone del volontario", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Mobilisation", "identifier": "HN 1061", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0210.html" }, { "title": "Madonnina degli aviatori", "creator": "La Voce del Padrone", "date": "1936", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Aviation; Martyr", "identifier": "HN 991", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0211.html" }, { "title": "Leggenda eroica", "creator": "La Voce del Padrone", "date": "1936", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. As indicated on the record label, this one is dedicated to the memory of Sergeant Dalmazio Birago, mortally wounded during the Italian invasion of Ethiopia, the first decorated soldier of this war, and a martyr figure. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Martyr; Heroism; War; Ethiopia; Colonisation; Aviation", "identifier": "HN 991", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0212.html" }, { "title": "Uscita del Ten. Col. Galliano dal Forte di Macallè (22-1-1896)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is a sound reconstruction of a historic event (\"Scena dal Vero\") from the first Italo-Ethiopian conflict, in this case the speech given by Colonel Giuseppe Galliano on January 22, 1896, the day after his troops surrendered in the fort of Macallè, under siege from the Ethiopian army. The re-enactment of this speech is accompanied by ambient sounds (march played by a brass band, drums). This recording was released shortly after the Italian army had conquered the town of Macallè on November 8, 1935, during the Second Italo-Ethiopian Conflict, and the regime could now claim to have avenged the defeat it had suffered 40 years earlier at the same location. This record is part of a collection of records designed to fascize children.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Scena dal Vero; Childhood; Education; Defeat", "identifier": "HN 951", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0213.html" }, { "title": "Macallè (…Ritorna Galliano !…)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia. This record is part of a collection of records designed to fascize children.", "subject": "10 inches shellac record; Martyr; War; Ethiopia; Colonisation; Victory; Childhood; Education", "identifier": "HN 951", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0214.html" }, { "title": "Uscita del Ten. Col. Galliano dal Forte di Macallè (22-1-1896)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is a sound reconstruction of a historic event (\"Scena dal Vero\") from the first Italo-Ethiopian conflict, in this case the speech given by Colonel Giuseppe Galliano on January 22, 1896, the day after his troops surrendered in the fort of Macallè, under siege from the Ethiopian army. The re-enactment of this speech is accompanied by ambient sounds (march played by a brass band, drums). This recording was released shortly after the Italian army had conquered the town of Macallè on November 8, 1935, during the Second Italo-Ethiopian Conflict, and the regime could now claim to have avenged the defeat it had suffered 40 years earlier at the same location. This record is part of a collection of records designed to fascize children.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Scena dal Vero; Childhood; Education; Defeat", "identifier": "HN 923", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0215.html" }, { "title": "Entrata del colonnello Broglia nel forte di Macallè (1935)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is a sound reconstruction of a historic event (\"Scena dal Vero\") in the second Italo-Ethiopian conflict, in this case Colonel Broglia's entry into Macallè Fort, 40 years after the surrender of Italian troops led by Colonel Giuseppe Galliano, entrenched in Macallè Fort under siege from the Ethiopian army. The recording was released shortly after the Italian army had conquered the town of Macallè on November 8, 1935, allowing the regime to claim that it had avenged the defeat it had suffered 40 years earlier at the same location. This record is part of a collection of records designed to fascize children.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Scena dal Vero; Childhood; Education; Victory", "identifier": "HN 923", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0216.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione I-II, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1250", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0217.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione I-II, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1250", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0218.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione III-IV, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1251", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0219.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione III-IV, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1251", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0220.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione V-VI, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1252", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0221.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione V-VI, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1252", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0222.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione VII-VIII, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1253", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0223.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione VII-VIII, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1253", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0224.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione IX-X, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1254", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0225.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione IX-X, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1254", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0226.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XI-XII, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1255", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0227.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XI-XII, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1255", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0228.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XIII-XIV, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1256", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0229.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XIII-XIV, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1256", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0230.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XV-XVI, Lettura e conversazione", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1257", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0231.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XV-XVI, Lettura e conversazione", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1257", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0232.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XVII-XVIII, Lettura e conversazione", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1258", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0233.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XVII-XVIII, Lettura e conversazione", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1258", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0234.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XIX-XX, Lettura e conversazione", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1259", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0235.html" }, { "title": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XIX-XX, Lettura e conversazione", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1259", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0236.html" }, { "title": "Corso di langua GALLA (in 12 lezioni) - Lezione I-II, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1260", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0237.html" }, { "title": "Corso di langua GALLA (in 12 lezioni) - Lezione I-II, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1260", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0238.html" }, { "title": "Corso di langua GALLA (in 12 lezioni) - Lezione III-IV, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1261", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0239.html" }, { "title": "Corso di langua GALLA (in 12 lezioni) - Lezione III-IV, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1261", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0240.html" }, { "title": "Corso di langua GALLA (in 12 lezioni) - Lezione V-VI, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1262", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0241.html" }, { "title": "Corso di langua GALLA (in 12 lezioni) - Lezione V-VI, esercizi grammaticali", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1262", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0242.html" }, { "title": "Corso di langua GALLA (in 12 lezioni) - Lezione VII-VIII, lettura e conversazione", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1263", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0243.html" }, { "title": "Corso di langua GALLA (in 12 lezioni) - Lezione VII-VIII, lettura e conversazione", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1263", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0244.html" }, { "title": "Corso di langua GALLA (in 12 lezioni) - Lezione IX-X, lettura e conversazione", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1264", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0245.html" }, { "title": "Corso di langua GALLA (in 12 lezioni) - Lezione IX-X, lettura e conversazione", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1264", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0246.html" }, { "title": "Corso di langua GALLA (in 12 lezioni) - Lezione XI-XII, lettura e conversazione", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1265", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0247.html" }, { "title": "Corso di langua GALLA (in 12 lezioni) - Lezione XI-XII, lettura e conversazione", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording belongs to a series of records of lessons in Ahmaric and Galla, two languages spoken in Ethiopia. Certainly published shortly after the foundation of the Italian Empire in East Africa in May 1936, they may have been useful, even inciting, the establishment of Italians in Ethiopia and the reinforcing of the new empire through colonial settlement and development of the colonized territories. This series, conceived by La Voce del Padrone, was followed by another series of eight records released by Durium in 1937, which seemed to respond to these issues. Indeed, their publicity mentions that: \"This new publication will be extremely useful, not only to scholars in general, but also to the great number of compatriots who, for reasons of service, study, business or work, are already dispersed in the new lands of the Empire or are about to make a new life there.\" (Corriere Musicale Rassegna Fonografica, September 15, 1937).", "subject": "10 inches shellac record; Language; Lessons; Colonisation; Ethiopia; Empire", "identifier": "GW 1265", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0248.html" }, { "title": "Consigli pratici di protezione antiaerea, Generalità", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a series dedicated to the techniques and practices to be adopted by the Italian population in the event of an air raid to limit the human and material damage. It was produced by the \"Unione Nazionale Protezione Antiaera\", a large Fascist civil defense association active from 1934 onwards, as a new war in Europe became increasingly likely. ", "subject": "10 inches shellac record; War; Defence; Aviation; Institution; Unione Nazionale Protezione Antiaera", "identifier": "numero 83", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0249.html" }, { "title": "Consigli pratici di protezione antiaerea, Sfollamento e oscuramento", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a series dedicated to the techniques and practices to be adopted by the Italian population in the event of an air raid to limit the human and material damage. It was produced by the \"Unione Nazionale Protezione Antiaera\", a large Fascist civil defense association active from 1934 onwards, as a new war in Europe became increasingly likely. ", "subject": "10 inches shellac record; War; Defence; Aviation; Institution; Unione Nazionale Protezione Antiaera", "identifier": "numero 83", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0250.html" }, { "title": "Protezione anti-incendi. Rifugi", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a series dedicated to the techniques and practices to be adopted by the Italian population in the event of an air raid to limit the human and material damage. It was produced by the \"Unione Nazionale Protezione Antiaera\", a large Fascist civil defense association active from 1934 onwards, as a new war in Europe became increasingly likely. ", "subject": "10 inches shellac record; War; Defence; Aviation; Institution; Unione Nazionale Protezione Antiaera", "identifier": "numero 84", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0251.html" }, { "title": "Organizzazione ausiliara volontaria, Generalità", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a series dedicated to the techniques and practices to be adopted by the Italian population in the event of an air raid to limit the human and material damage. It was produced by the \"Unione Nazionale Protezione Antiaera\", a large Fascist civil defense association active from 1934 onwards, as a new war in Europe became increasingly likely. ", "subject": "10 inches shellac record; War; Defence; Aviation; Institution; Unione Nazionale Protezione Antiaera", "identifier": "numero 84", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0252.html" }, { "title": "Organizzazione ausiliara volontaria, Norme da seguire", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a series dedicated to the techniques and practices to be adopted by the Italian population in the event of an air raid to limit the human and material damage. It was produced by the \"Unione Nazionale Protezione Antiaera\", a large Fascist civil defense association active from 1934 onwards, as a new war in Europe became increasingly likely. ", "subject": "10 inches shellac record; War; Defence; Aviation; Institution; Unione Nazionale Protezione Antiaera", "identifier": "numero 85", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0253.html" }, { "title": "Organizzazione ausiliara volontaria, Conclusione", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a series dedicated to the techniques and practices to be adopted by the Italian population in the event of an air raid to limit the human and material damage. It was produced by the \"Unione Nazionale Protezione Antiaera\", a large Fascist civil defense association active from 1934 onwards, as a new war in Europe became increasingly likely. ", "subject": "10 inches shellac record; War; Defence; Aviation; Institution; Unione Nazionale Protezione Antiaera", "identifier": "numero 85", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0254.html" }, { "title": "Leggenda eroica", "creator": "La Voce del Padrone", "date": "1936", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. As indicated on the record label, this one is dedicated to the memory of Sergeant Dalmazio Birago, mortally wounded during the Italian invasion of Ethiopia, the first decorated soldier of this war, and a martyr figure.\n [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Aviation; Martyr; Heroism; War; Ethiopia; Colonisation", "identifier": "HN 997", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0255.html" }, { "title": "\"Carme secolare\" di Orazio (Primo inno del popolo Italiano, A. 17 avanti Cristo)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Nation; Romanità", "identifier": "HN 997", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0256.html" }, { "title": "L’Italia ha vinto", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory; Empire", "identifier": "HN 1020", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0257.html" }, { "title": "È finito il bel tempo che fu", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; War; Ethiopia; Sanctions; League of Nations; Satire; Autarchy", "identifier": "HN 1020", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0258.html" }, { "title": "Addis… Addis Abeba (sull'aria de \"La bella Gigiggin\" - tratta dal'ora radiofonica del \"Guf\" di Torino littoriale A. XIV)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Radio; War; Colonisation; Ethiopia; Satire; Gruppi Universitari Fascisti", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "HN 985", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0259.html" }, { "title": "O bionda Albione (tratta dal'ora radiofonica del \"Guf\" di Torino littoriale A. XIV con trio vocale)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Radio; War; Colonisation; Ethiopia; Satire; Gruppi Universitari Fascisti", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "HN 985", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0260.html" }, { "title": "Alla stazione", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.oldati per A. O.)", "subject": "10 inches shellac record; War; Mobilisation; Colonisation; Ethiopia", "identifier": "GW 1162", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0261.html" }, { "title": "Strofette africane", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Colonisation; Ethiopia; War", "identifier": "GW 1162", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0262.html" }, { "title": "Adua", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "HN 922", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0263.html" }, { "title": "Macallè (…Ritorna Galliano !…)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Martyr; War; Ethiopia; Colonisation; Victory", "identifier": "HN 922", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0264.html" }, { "title": "Africanina (Pupetta nera)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Colonisation; Ethiopia; African Women", "identifier": "HN 992", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0265.html" }, { "title": "Rantanplan delle camicie nere", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "HN 992", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0266.html" }, { "title": "Faccetta nera", "creator": "La Voce del Padrone", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Colonisation; Ethiopia; War; African Women", "identifier": "HN 879", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0267.html" }, { "title": "Ti saluto !… (…vado in Abissinia)", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "identifier": "HN 879", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0268.html" }, { "title": "Cara mamma (lettera di un soldato)", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "identifier": "HN 890", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0269.html" }, { "title": "Adua", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "HN 890", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0270.html" }, { "title": "Battaglioni", "creator": "La Voce del Padrone", "date": "1935", "subject": "10 inches shellac record; War", "identifier": "HN 921", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0271.html" }, { "title": "Macallè (…Ritorna Galliano !…)", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Martyr; War; Ethiopia; Colonisation; Victory", "identifier": "HN 921", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0272.html" }, { "title": "Arriva il Negus", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Satire; Haile Selassie", "identifier": "HN 1008", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0273.html" }, { "title": "Ti porto in Italia", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; African Women", "identifier": "HN 1008", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0274.html" }, { "title": "Arriva il Negus", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Satire; Haile Selassie", "identifier": "HN 1010", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0275.html" }, { "title": "Stornelli grigi", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Sanctions; League of Nations; Autarchy", "identifier": "HN 1010", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0276.html" }, { "title": "Battaglioni", "creator": "La Voce del Padrone", "date": "1935", "subject": "10 inches shellac record; War", "identifier": "HN 925", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0277.html" }, { "title": "Macallè (…Ritorna Galliano !…)", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Martyr; War; Ethiopia; Colonisation; Victory", "identifier": "HN 925", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0278.html" }, { "title": "Ti saluto !… (vado in Abissinia)", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "HN 833", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0279.html" }, { "title": "Solo un istante", "creator": "La Voce del Padrone", "date": "1935", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "HN 833", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0280.html" }, { "title": "Carovane del Tigrai", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "HN 962", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0281.html" }, { "title": "Nostalgia Napoletana", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; Light Music", "identifier": "HN 962", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0282.html" }, { "title": "Carovane del Tigrai", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "HN 965", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0283.html" }, { "title": "Ti chiami amore", "creator": "La Voce del Padrone", "date": "1936", "description": "Du film \"Mazurka Tragica\" ; Rid. Domina-Rameau", "subject": "10 inches shellac record; Movie; Light Music; Love", "identifier": "HN 965", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0284.html" }, { "title": "L’Ha detto Mussolini", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This recording represents the Opera Nazionale Dopolavoro (OND) or participates in promoting the leisure policy it implements. Created in 1925 by the regime, the OND was aimed at workers, whose unions it intended to replace (the site of an intolerable socialist policy opposed with great violence) and to organize leisure time (\"Dopolavoro\"). By bringing together several thousand workers' associations engaged in a wide range of activities, and directing them in line with Fascist policies, the OND enabled the regime to put down roots in the world of work, organize a significant part of Italians' leisure time by mixing politics and culture, and invest a little more of their private lives. In this way, it contributed to the realization of Fascist totalitarianism (see Victoria De Grazia, \"Dopolavoro\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, pp. 443-447). Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo; Ethiopia; Colonisation; Concorso Piedigrotta; Opera Nazionale Dopolavoro", "identifier": "HN 1089", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0285.html" }, { "title": "Voce lontana", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; War; Ethiopia; Colonisation", "identifier": "HN 1089", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0286.html" }, { "title": "In Africa si va ", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "identifier": "HN 929", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0287.html" }, { "title": "Stornelli neri", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Satire; Haile Selassie", "identifier": "HN 929", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0288.html" }, { "title": "I Bersaglieri Neri - \"La Canzone dei Dubat\"", "creator": "La Voce del Padrone", "date": "1936", "description": "The colony of Italian Somalia was created in 1889 and maintained until 1941, after being integrated into Italian East Africa, created in 1936 after Ethiopia's military defeat by Fascist Italy. It imposed a regime of discrimination, forced labor and educational deprivation on the indigenous population. ", "subject": "10 inches shellac record; Military; Institution; Bersaglieri; Colonisation; Italian Somalia; Remembrance; War", "identifier": "HN 966", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0289.html" }, { "title": "Serenata a Ginevra", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; Autarchy; Ethiopia; War", "identifier": "HN 966", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0290.html" }, { "title": "Ci rivedremo… (A Addis Abeba !)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation", "identifier": "HN 1018", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0291.html" }, { "title": "Sul lago Tana", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Martyr; Love", "identifier": "HN 1018", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0292.html" }, { "title": "La Madonnina degli aviatori", "creator": "La Voce del Padrone", "date": "1936", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Aviation; Martyr", "identifier": "HN 1017", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0293.html" }, { "title": "La Marcia della Vittoria", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; Victory; Empire", "identifier": "HN 1017", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0294.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1937", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "DB 3128", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0295.html" }, { "title": "Inno a Roma", "creator": "La Voce del Padrone", "date": "1937", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "identifier": "DB 3128", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0296.html" }, { "title": "Inno a Roma", "creator": "La Voce del Padrone", "date": "1934", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "identifier": "HN 555", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0297.html" }, { "title": "Rusticanella", "creator": "La Voce del Padrone", "date": "1934", "description": "This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "HN 555", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0298.html" }, { "title": "700 km, all'ora (dall'aeropoema futurista del Golfo de la Spezia)", "creator": "La Voce del Padrone", "date": "1935", "description": "This record is designed to introduce children to Futurism, a modernist literary, musical and artistic movement born shortly before the First World War. Through some of its members and its brutal aesthetic, fascinated by violence, the Italian Futurist movement was close to the Fascist movement from its beginnings in 1919. After the latter came to power in 1922, Futurist artists such as Filippo Tommaso Marinetti worked for the regime, contributing to its events and cultural policies. Here, they are involved in the Fascist education of Italian children. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Futurism", "identifier": "GW 1158", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0299.html" }, { "title": "Spiralando sul porto di Napoli (aeropoesia futurista)", "creator": "La Voce del Padrone", "date": "1935", "description": "This record is designed to introduce children to Futurism, a modernist literary, musical and artistic movement born shortly before the First World War. Through some of its members and its brutal aesthetic, fascinated by violence, the Italian Futurist movement was close to the Fascist movement from its beginnings in 1919. After the latter came to power in 1922, Futurist artists such as Filippo Tommaso Marinetti worked for the regime, contributing to its events and cultural policies. Here, they are involved in the Fascist education of Italian children. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Futurism", "identifier": "GW 1158", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0300.html" }, { "title": "Il bombardamento di Adrianopoli (parole in libertà futuriste)", "creator": "La Voce del Padrone", "date": "1935", "description": "This record is designed to introduce children to Futurism, a modernist literary, musical and artistic movement born shortly before the First World War. Through some of its members and its brutal aesthetic, fascinated by violence, the Italian Futurist movement was close to the Fascist movement from its beginnings in 1919. After the latter came to power in 1922, Futurist artists such as Filippo Tommaso Marinetti worked for the regime, contributing to its events and cultural policies. Here, they are involved in the Fascist education of Italian children. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Futurism", "identifier": "GW 1159", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0301.html" }, { "title": "Ritratto olfattivo di una donna (parole in libertà futuriste)", "creator": "La Voce del Padrone", "date": "1935", "description": "This record is designed to introduce children to Futurism, a modernist literary, musical and artistic movement born shortly before the First World War. Through some of its members and its brutal aesthetic, fascinated by violence, the Italian Futurist movement was close to the Fascist movement from its beginnings in 1919. After the latter came to power in 1922, Futurist artists such as Filippo Tommaso Marinetti worked for the regime, contributing to its events and cultural policies. Here, they are involved in the Fascist education of Italian children. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Futurism", "identifier": "GW 1159", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0302.html" }, { "title": "Corso di lingua LATINA - Lezione I- fonologia, morfologia, I declinazione", "creator": "La Voce del Padrone", "date": "1937", "description": "These records, which reproduce Latin lessons for children, might not be considered useful for Fascist propaganda. However, they were probably published in 1937, i.e. after the foundation of the Italian Empire in East Africa, and may have served to work on the myth of the Roman Empire through its language and culture, and to articulate the old and new empires in order to assert and legitimize the \"greatness\" of the Fascist regime through a somewhat forced historical parallel. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Language; Lessons", "identifier": "GW 1330", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0303.html" }, { "title": "Corso di lingua LATINA - Lezione II, Il declinazione, aggettivi di I et II declinazione", "creator": "La Voce del Padrone", "date": "1937", "description": "These records, which reproduce Latin lessons for children, might not be considered useful for Fascist propaganda. However, they were probably published in 1937, i.e. after the foundation of the Italian Empire in East Africa, and may have served to work on the myth of the Roman Empire through its language and culture, and to articulate the old and new empires in order to assert and legitimize the \"greatness\" of the Fascist regime through a somewhat forced historical parallel. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Language; Lessons", "identifier": "GW 1330", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0304.html" }, { "title": "Corso di lingua LATINA - Lezione III, III declinazione, particolarità", "creator": "La Voce del Padrone", "date": "1937", "description": "These records, which reproduce Latin lessons for children, might not be considered useful for Fascist propaganda. However, they were probably published in 1937, i.e. after the foundation of the Italian Empire in East Africa, and may have served to work on the myth of the Roman Empire through its language and culture, and to articulate the old and new empires in order to assert and legitimize the \"greatness\" of the Fascist regime through a somewhat forced historical parallel. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Language; Lessons", "identifier": "GW 1331", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0305.html" }, { "title": "Corso di lingua LATINA - Lezione IV, IV e V declinazione, sintassi", "creator": "La Voce del Padrone", "date": "1937", "description": "These records, which reproduce Latin lessons for children, might not be considered useful for Fascist propaganda. However, they were probably published in 1937, i.e. after the foundation of the Italian Empire in East Africa, and may have served to work on the myth of the Roman Empire through its language and culture, and to articulate the old and new empires in order to assert and legitimize the \"greatness\" of the Fascist regime through a somewhat forced historical parallel. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Language; Lessons", "identifier": "GW 1331", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0306.html" }, { "title": "Corso di lingua LATINA - Lezione V, aggettivi di III declinazione, comparativo e superlativo", "creator": "La Voce del Padrone", "date": "1937", "description": "These records, which reproduce Latin lessons for children, might not be considered useful for Fascist propaganda. However, they were probably published in 1937, i.e. after the foundation of the Italian Empire in East Africa, and may have served to work on the myth of the Roman Empire through its language and culture, and to articulate the old and new empires in order to assert and legitimize the \"greatness\" of the Fascist regime through a somewhat forced historical parallel. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Language; Lessons", "identifier": "GW 1332", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0307.html" }, { "title": "Corso di lingua LATINA - Lezione VI, sintassi elementare, complementi e verbi", "creator": "La Voce del Padrone", "date": "1937", "description": "These records, which reproduce Latin lessons for children, might not be considered useful for Fascist propaganda. However, they were probably published in 1937, i.e. after the foundation of the Italian Empire in East Africa, and may have served to work on the myth of the Roman Empire through its language and culture, and to articulate the old and new empires in order to assert and legitimize the \"greatness\" of the Fascist regime through a somewhat forced historical parallel. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Language; Lessons", "identifier": "GW 1332", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0308.html" }, { "title": "Corso di lingua LATINA - Lezione VII, i numerali", "creator": "La Voce del Padrone", "date": "1937", "description": "These records, which reproduce Latin lessons for children, might not be considered useful for Fascist propaganda. However, they were probably published in 1937, i.e. after the foundation of the Italian Empire in East Africa, and may have served to work on the myth of the Roman Empire through its language and culture, and to articulate the old and new empires in order to assert and legitimize the \"greatness\" of the Fascist regime through a somewhat forced historical parallel. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Language; Lessons", "identifier": "GW 1333", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0309.html" }, { "title": "Corso di lingua LATINA - Lezione VIII, i pronomi", "creator": "La Voce del Padrone", "date": "1937", "description": "These records, which reproduce Latin lessons for children, might not be considered useful for Fascist propaganda. However, they were probably published in 1937, i.e. after the foundation of the Italian Empire in East Africa, and may have served to work on the myth of the Roman Empire through its language and culture, and to articulate the old and new empires in order to assert and legitimize the \"greatness\" of the Fascist regime through a somewhat forced historical parallel. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Language; Lessons", "identifier": "GW 1333", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0310.html" }, { "title": "Corso di lingua LATINA - Lezione IX, il verbo, nozioni generali e formazioni dei tempi", "creator": "La Voce del Padrone", "date": "1937", "description": "These records, which reproduce Latin lessons for children, might not be considered useful for Fascist propaganda. However, they were probably published in 1937, i.e. after the foundation of the Italian Empire in East Africa, and may have served to work on the myth of the Roman Empire through its language and culture, and to articulate the old and new empires in order to assert and legitimize the \"greatness\" of the Fascist regime through a somewhat forced historical parallel. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Language; Lessons", "identifier": "GW 1334", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0311.html" }, { "title": "Corso di lingua LATINA - Lezione X, Coniugazione del verbo Sum, composti Possum", "creator": "La Voce del Padrone", "date": "1937", "description": "These records, which reproduce Latin lessons for children, might not be considered useful for Fascist propaganda. However, they were probably published in 1937, i.e. after the foundation of the Italian Empire in East Africa, and may have served to work on the myth of the Roman Empire through its language and culture, and to articulate the old and new empires in order to assert and legitimize the \"greatness\" of the Fascist regime through a somewhat forced historical parallel. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Language; Lessons", "identifier": "GW 1334", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0312.html" }, { "title": "Corso di lingua LATINA - Lezione XI, verbi attivi Amo e Moneo", "creator": "La Voce del Padrone", "date": "1937", "description": "These records, which reproduce Latin lessons for children, might not be considered useful for Fascist propaganda. However, they were probably published in 1937, i.e. after the foundation of the Italian Empire in East Africa, and may have served to work on the myth of the Roman Empire through its language and culture, and to articulate the old and new empires in order to assert and legitimize the \"greatness\" of the Fascist regime through a somewhat forced historical parallel. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Language; Lessons", "identifier": "GW 1335", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0313.html" }, { "title": "Corso di lingua LATINA - Lezione XII, verbi attivi Lego e Audio", "creator": "La Voce del Padrone", "date": "1937", "description": "These records, which reproduce Latin lessons for children, might not be considered useful for Fascist propaganda. However, they were probably published in 1937, i.e. after the foundation of the Italian Empire in East Africa, and may have served to work on the myth of the Roman Empire through its language and culture, and to articulate the old and new empires in order to assert and legitimize the \"greatness\" of the Fascist regime through a somewhat forced historical parallel. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Language; Lessons", "identifier": "GW 1335", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0314.html" }, { "title": "Cantate di legionari", "creator": "La Voce del Padrone", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Military; Legion", "identifier": "HN 1168", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0315.html" }, { "title": "Quando suona la banda", "creator": "La Voce del Padrone", "date": "1937", "subject": "10 inches shellac record; Military", "identifier": "HN 1168", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0316.html" }, { "title": "Canto del Dopolavoristi", "creator": "La Voce del Padrone", "date": "1937", "description": "This recording represents the Opera Nazionale Dopolavoro (OND) or participates in promoting the leisure policy it implements. Created in 1925 by the regime, the OND was aimed at workers, whose unions it intended to replace (the site of an intolerable socialist policy opposed with great violence) and to organize leisure time (\"Dopolavoro\"). By bringing together several thousand workers' associations engaged in a wide range of activities, and directing them in line with Fascist policies, the OND enabled the regime to put down roots in the world of work, organize a significant part of Italians' leisure time by mixing politics and culture, and invest a little more of their private lives. In this way, it contributed to the realization of Fascist totalitarianism (see Victoria De Grazia, \"Dopolavoro\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, pp. 443-447).", "subject": "10 inches shellac record; Leisure; Institution; Opera Nazionale Dopolavoro", "identifier": "HN 1206", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0317.html" }, { "title": "Ama lo sport", "creator": "La Voce del Padrone", "date": "1937", "description": "This recording represents the Opera Nazionale Dopolavoro (OND) or participates in promoting the leisure policy it implements. Created in 1925 by the regime, the OND was aimed at workers, whose unions it intended to replace (the site of an intolerable socialist policy opposed with great violence) and to organize leisure time (\"Dopolavoro\"). By bringing together several thousand workers' associations engaged in a wide range of activities, and directing them in line with Fascist policies, the OND enabled the regime to put down roots in the world of work, organize a significant part of Italians' leisure time by mixing politics and culture, and invest a little more of their private lives. In this way, it contributed to the realization of Fascist totalitarianism (see Victoria De Grazia, \"Dopolavoro\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, pp. 443-447).", "subject": "10 inches shellac record; Sport; Leisure; Opera Nazionale Dopolavoro", "identifier": "HN 1206", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0318.html" }, { "title": "Canto dei Volontari", "creator": "La Voce del Padrone", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is from the movies \" All’ombra del Negus \" and \" Amo te sola \".", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Movie", "identifier": "HN 1123", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0319.html" }, { "title": "Ti saluto !… (…vado in Abissinia)", "creator": "La Voce del Padrone", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "identifier": "HN 1123", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0320.html" }, { "title": "C'era una volta il Negus !", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Satire; Haile Selassie", "identifier": "HN 1058", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0321.html" }, { "title": "È arrivato il signor Tafari", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Satire; Haile Selassie", "identifier": "HN 1058", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0322.html" }, { "title": "Strofette abissine", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "identifier": "HN 1024", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0323.html" }, { "title": "Stornelli amari", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Satire; Haile Selassie", "identifier": "HN 1024", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0324.html" }, { "title": "Una volta… non c'era Mussolini !", "creator": "La Voce del Padrone", "date": "1934", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo; Satire", "identifier": "HN 416", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0325.html" }, { "title": "Marchesa… se permette…", "creator": "La Voce del Padrone", "date": "1934", "subject": "10 inches shellac record; Satire", "identifier": "HN 416", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0326.html" }, { "title": "Una volta… non c'era Mussolini !", "creator": "La Voce del Padrone", "date": "1933", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo; Satire", "identifier": "R 11098", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0327.html" }, { "title": "Marchesa… se permette…", "creator": "La Voce del Padrone", "date": "1933", "subject": "10 inches shellac record; Satire", "identifier": "R 11098", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, October 1, 1933", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0328.html" }, { "title": "Giovani fascisti", "creator": "La Voce del Padrone", "date": "1938", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "10 inches shellac record; Youth; Institution; Giovani Fascisti; Childhood; Education", "identifier": "HN 1379", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0329.html" }, { "title": "Saluto al Duce", "creator": "La Voce del Padrone", "date": "1938", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271). Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Childhood; Education; Mussolinismo; Institution; Boys; Opera Nazionale Balilla", "identifier": "HN 1379", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0330.html" }, { "title": "Inno a Roma", "creator": "La Voce del Padrone", "date": "1938", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "identifier": "HN 1446", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0331.html" }, { "title": "Inno al lavoro (Inno patriottico)", "creator": "La Voce del Padrone", "date": "1938", "description": "This song is from the movie \"Umbria Verde\".", "subject": "10 inches shellac record; Work; Movie", "identifier": "HN 1446", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0332.html" }, { "title": "Amanti simultanei (Romanzo futurista discato) [1/2]", "creator": "La Voce del Padrone", "date": "1938", "description": "This record is designed to introduce children to Futurism, a modernist literary, musical and artistic movement born shortly before the First World War. Through some of its members and its brutal aesthetic, fascinated by violence, the Italian Futurist movement was close to the Fascist movement from its beginnings in 1919. After the latter came to power in 1922, Futurist artists such as Filippo Tommaso Marinetti worked for the regime, contributing to its events and cultural policies. Here, they are involved in the Fascist education of Italian children. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Futurism", "identifier": "HN 1330", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0333.html" }, { "title": "Amanti simultanei (Romanzo futurista discato) [2/2]", "creator": "La Voce del Padrone", "date": "1938", "description": "This record is designed to introduce children to Futurism, a modernist literary, musical and artistic movement born shortly before the First World War. Through some of its members and its brutal aesthetic, fascinated by violence, the Italian Futurist movement was close to the Fascist movement from its beginnings in 1919. After the latter came to power in 1922, Futurist artists such as Filippo Tommaso Marinetti worked for the regime, contributing to its events and cultural policies. Here, they are involved in the Fascist education of Italian children. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Futurism", "identifier": "HN 1330", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0334.html" }, { "title": "Sintesi musicale. P. I. le macchine, l'infinito, il mare", "creator": "La Voce del Padrone", "date": "1938", "description": "This record is designed to introduce children to Futurism, a modernist literary, musical and artistic movement born shortly before the First World War. Through some of its members and its brutal aesthetic, fascinated by violence, the Italian Futurist movement was close to the Fascist movement from its beginnings in 1919. After the latter came to power in 1922, Futurist artists such as Filippo Tommaso Marinetti worked for the regime, contributing to its events and cultural policies. Here, they are involved in the Fascist education of Italian children. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Futurism", "identifier": "GW 1470", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0335.html" }, { "title": "Sintesi musicale. P.II, la festa dei motori, amanti in volo, battaglia simultanea di terra, mare e cielo", "creator": "La Voce del Padrone", "date": "1938", "description": "This record is designed to introduce children to Futurism, a modernist literary, musical and artistic movement born shortly before the First World War. Through some of its members and its brutal aesthetic, fascinated by violence, the Italian Futurist movement was close to the Fascist movement from its beginnings in 1919. After the latter came to power in 1922, Futurist artists such as Filippo Tommaso Marinetti worked for the regime, contributing to its events and cultural policies. Here, they are involved in the Fascist education of Italian children. This recording is included with others in its publisher's catalog in a section dedicated to children's records.", "subject": "10 inches shellac record; Childhood; Education; Futurism", "identifier": "GW 1470", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0336.html" }, { "title": "Ti porto in Italia", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; African Women", "identifier": "HN 1009", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0337.html" }, { "title": "Oili ! Oila ! (Tarentella abbissina)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation", "identifier": "HN 1009", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0338.html" }, { "title": "Inno all’Impero", "creator": "La Voce del Padrone", "date": "1939", "subject": "10 inches shellac record; Empire; Childhood; Education", "identifier": "HN 1567", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0339.html" }, { "title": "O Roma ! O Roma", "creator": "La Voce del Padrone", "date": "1939", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Empire; Childhood; Education; Romanità; Town; Mussolinismo", "identifier": "HN 1567", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0340.html" }, { "title": "O Roma ! O Roma", "creator": "La Voce del Padrone", "date": "1939", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Childhood; Education; Romanità; Town; Empire; Mussolinismo", "identifier": "HN 1366", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0341.html" }, { "title": "Invocazione", "creator": "La Voce del Padrone", "date": "1939", "subject": "10 inches shellac record; Childhood; Education", "identifier": "HN 1366", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0342.html" }, { "title": "Inno dell'Impero", "creator": "La Voce del Padrone", "date": "1939", "subject": "12 inches shellac record; Empire", "identifier": "S 10471", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Nuovi Dischi, June, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0343.html" }, { "title": "Preghiera del legionario prima della Battaglia", "creator": "La Voce del Padrone", "date": "1939", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "12 inches shellac record; Military; Legion", "identifier": "S 10471", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Nuovi Dischi, June, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0344.html" }, { "title": "Inno Uff. dei Giovani Fascisti", "creator": "La Voce del Padrone", "date": "1939", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "10 inches shellac record; Youth; Institution; Giovani Fascisti", "identifier": "GW 1652", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0345.html" }, { "title": "Studenti Universitari Fascisti", "creator": "La Voce del Padrone", "date": "1939", "description": "This recording represents fascist university and student organizations.", "subject": "10 inches shellac record; Youth; Institution; Studenti Universitari Fascisti", "identifier": "GW 1652", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0346.html" }, { "title": "Marcia Reale Italiana", "creator": "La Voce del Padrone", "date": "1939", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative body of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When recorded and marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem on the other side of the record. In this way, the same record both represents and gives voice to the two sides of Italian political power: the symbolic one, representing Italy's unification process (the \"Risorgimento\") and thus the very possibility of its existence as a nation; and the executive one, intended to represent Italy's national, even racial, development according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Nation; Risorgimento", "identifier": "GW 1704", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0347.html" }, { "title": "4° Artigliera", "creator": "La Voce del Padrone", "date": "1939", "subject": "10 inches shellac record; Military; 4° Artigliera", "identifier": "GW 1704", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0348.html" }, { "title": "Adua", "creator": "La Voce del Padrone", "date": "1939", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "GW 1748", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0349.html" }, { "title": "Segnale militare", "creator": "La Voce del Padrone", "date": "1939", "subject": "10 inches shellac record; Military", "identifier": "GW 1748", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0350.html" }, { "title": "Cara al sol", "creator": "La Voce del Padrone", "date": "1939", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Institution; Juntas de Ofensiva Nacional-Sindicalista", "identifier": "HN 1492", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0351.html" }, { "title": "Torna Siviglia", "creator": "La Voce del Padrone", "date": "1939", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War", "identifier": "HN 1492", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0352.html" }, { "title": "Cirene (militare)", "creator": "La Voce del Padrone", "date": "1939", "subject": "10 inches shellac record; Military", "identifier": "GW 1654", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0353.html" }, { "title": "4° Artigliera", "creator": "La Voce del Padrone", "date": "1939", "subject": "10 inches shellac record; Military; 4° Artigliera", "identifier": "GW 1654", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0354.html" }, { "title": "Giovinezza !… (Inno ufficiale Fascista)", "creator": "La Voce del Padrone", "date": "1940", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "HN 1859", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Nuovi Dischi, January, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0355.html" }, { "title": "Inno dell'Impero", "creator": "La Voce del Padrone", "date": "1940", "subject": "10 inches shellac record; Empire; Partito Nazionale Fascista", "identifier": "HN 1859", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Nuovi Dischi, January, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0356.html" }, { "title": "Dux", "creator": "La Voce del Padrone", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; World War II; Mussolinismo", "identifier": "HN 1781", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Nuovi Dischi, September, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0357.html" }, { "title": "Preghiera Italica", "creator": "La Voce del Padrone", "date": "1940", "subject": "10 inches shellac record; World War II; Nation", "identifier": "HN 1781", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Nuovi Dischi, September, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0358.html" }, { "title": "Mister Churchill… come va ? (Tutto va ben, tutto va ben) - canzone satirica", "creator": "La Voce del Padrone", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Satire; United Kingdom; Winston Churchill", "identifier": "HN 1832", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dei dischi pubblicati dal gennaio 1940 a tutto il 31 marzo 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0359.html" }, { "title": "Serenatone (per la perfida Albione - canzone satirica)", "creator": "La Voce del Padrone", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Satire; United Kingdom", "identifier": "HN 1832", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dei dischi pubblicati dal gennaio 1940 a tutto il 31 marzo 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0360.html" }, { "title": "Vincere", "creator": "La Voce del Padrone", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II", "identifier": "HN 1793", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Nuovi Dischi, September, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0361.html" }, { "title": "T'aspetto a Tunisi", "creator": "La Voce del Padrone", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Colonisation; North Africa; Tunisia", "identifier": "HN 1793", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Nuovi Dischi, September, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0362.html" }, { "title": "Vincere", "creator": "La Voce del Padrone", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II", "identifier": "HN 1794", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dei dischi pubblicati dal gennaio 1940 a tutto il 31 marzo 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0363.html" }, { "title": "Stella garibaldina", "creator": "La Voce del Padrone", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Nation; Risorgimento", "identifier": "HN 1794", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dei dischi pubblicati dal gennaio 1940 a tutto il 31 marzo 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0364.html" }, { "title": "Etiopia", "creator": "La Voce del Padrone", "date": "1941", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa. It is dedicated to Benito Mussolini, \" Founder of the Empire \".", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "HN 1825", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dei dischi pubblicati dal gennaio 1940 a tutto il 31 marzo 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0365.html" }, { "title": "Mediterraneo", "creator": "La Voce del Padrone", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; War; Military; Martyr", "identifier": "HN 1825", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dei dischi pubblicati dal gennaio 1940 a tutto il 31 marzo 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0366.html" }, { "title": "Inno ai mutilati di guerra", "creator": "La Voce del Padrone", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II", "identifier": "HN 1826", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dei dischi pubblicati dal gennaio 1940 a tutto il 31 marzo 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0367.html" }, { "title": "Vincere", "creator": "La Voce del Padrone", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II", "identifier": "HN 1826", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dei dischi pubblicati dal gennaio 1940 a tutto il 31 marzo 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0368.html" }, { "title": "Inno della 13a Batteria C.a. \"Corridoni\"", "creator": "La Voce del Padrone", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Military; Institution; 13a Batteria C.a. \"Corridoni\"", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1940", "identifier": "HN 1834", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dei dischi pubblicati dal gennaio 1940 a tutto il 31 marzo 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0369.html" }, { "title": "Vincere, Vincere, Vincere", "creator": "La Voce del Padrone", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II", "identifier": "HN 1834", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dei dischi pubblicati dal gennaio 1940 a tutto il 31 marzo 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0370.html" }, { "title": "È cosi bello esser soldato, Rosamaria (Es est so schön Soldat zu sein, Rosemarie)", "creator": "La Voce del Padrone", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Alliance; Axis; Germany", "identifier": "GW 1968", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0371.html" }, { "title": "Canto di marinai (e noi navigliamo verso l'Inghilterra) - Maltrosenlied (und wirfarhen gegen Engelland)", "creator": "La Voce del Padrone", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Alliance; Axis; Germany; Navy; United Kingdom", "identifier": "GW 1968", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0372.html" }, { "title": "Camerata marciamo verso Occidente (Kammarad, wir marschieren im Western) - canto delle terre liberate", "creator": "La Voce del Padrone", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Alliance; Axis; Germany", "identifier": "GW 1969", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0373.html" }, { "title": "Bombe sull’Inghilterra (Bomben auf Engelland)", "creator": "La Voce del Padrone", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Alliance; Axis; Germany; United Kingdom", "identifier": "GW 1969", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0374.html" }, { "title": "Deustchland, Deutschland über alles", "creator": "La Voce del Padrone", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Alliance; Axis; Germany; Nation", "identifier": "HN 45", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0375.html" }, { "title": "Hörst Wessel Lied", "creator": "La Voce del Padrone", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Alliance; Axis; Germany; Nationalsozialistische Deutsche Arbeiterpartei", "identifier": "HN 45", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo generale, January 1, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0376.html" }, { "title": "Giovinezza", "creator": "Parlophon", "date": "1932", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "B 7519", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0377.html" }, { "title": "Leggenda Marina", "creator": "Parlophon", "date": "1932", "subject": "10 inches shellac record; Military; Navy", "identifier": "B 7519", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0378.html" }, { "title": "Giovinezza", "creator": "Parlophon", "date": "1934", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "GP 91319", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0379.html" }, { "title": "Marcia Reale Italiana", "creator": "Parlophon", "date": "1934", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Nation; Risorgimento", "identifier": "GP 91319", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0380.html" }, { "title": "La leggenda del Piave", "creator": "Parlophon", "date": "1932", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "B 7548", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0381.html" }, { "title": "Inno al Duce", "creator": "Parlophon", "date": "1932", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo", "identifier": "B 7548", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0382.html" }, { "title": "Sul cappello", "creator": "Parlophon", "date": "1935", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "B 27358", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0383.html" }, { "title": "La marcia delle legioni", "creator": "Parlophon", "date": "1935", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Military; Legion", "identifier": "B 27358", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0384.html" }, { "title": "La leggenda del Piave", "creator": "Parlophon", "date": "1935", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "B 27359", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0385.html" }, { "title": "La canzone del grappa", "creator": "Parlophon", "date": "1935", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "B 27359", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0386.html" }, { "title": "Faccetta nera", "creator": "Parlophon", "date": "1934", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; African Women", "identifier": "GP 91587", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0387.html" }, { "title": "Tempo che fu", "creator": "Parlophon", "date": "1934", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Romanità; Town", "identifier": "GP 91587", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0388.html" }, { "title": "Natale fascista", "creator": "Parlophon", "date": "1935", "subject": "10 inches shellac record; Christmas", "identifier": "C 7924", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0389.html" }, { "title": "Amore di pastorello", "creator": "Parlophon", "date": "1935", "subject": "10 inches shellac record; Christmas", "identifier": "C 7924", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0390.html" }, { "title": "Adua", "creator": "Parlophon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "GP 91727", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0391.html" }, { "title": "Non piangere biondina", "creator": "Parlophon", "date": "1935", "subject": "10 inches shellac record; Light Music; Love", "identifier": "GP 91727", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0392.html" }, { "title": "Battaglioni", "creator": "Parlophon", "date": "1935", "subject": "10 inches shellac record; War", "identifier": "GP 91704", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0393.html" }, { "title": "Partenza per l'Africa", "creator": "Parlophon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "identifier": "GP 91704", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0394.html" }, { "title": "Faccetta nera", "creator": "Parlophon", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; African Women", "identifier": "GP 91670", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0395.html" }, { "title": "Signorinella", "creator": "Parlophon", "date": "1935", "subject": "10 inches shellac record; Light Music; Love", "identifier": "GP 91670", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0396.html" }, { "title": "Natale fascista", "creator": "Parlophon", "date": "1935", "subject": "10 inches shellac record; Christmas", "identifier": "GP 91742", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0397.html" }, { "title": "El cartero (Il portalettere)", "creator": "Parlophon", "date": "1935", "subject": "10 inches shellac record; Light Music", "identifier": "GP 91742", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0398.html" }, { "title": "Stornelli neri", "creator": "Parlophon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Satire; Haile Selassie", "identifier": "GP 91687", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0399.html" }, { "title": "Stornellata abissina", "creator": "Parlophon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Satire; Haile Selassie", "identifier": "GP 91687", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0400.html" }, { "title": "Sturnellata 'e passione", "creator": "Parlophon", "date": "1935", "subject": "10 inches shellac record; Light Music", "identifier": "GP 91716", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0401.html" }, { "title": "Serenata a Sellassiè", "creator": "Parlophon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation; Satire; Haile Selassie", "identifier": "GP 91716", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0402.html" }, { "title": "Ti saluto !… (…vado in Abissinia)", "creator": "Parlophon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "identifier": "GP 91703", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0403.html" }, { "title": "Non più moretta", "creator": "Parlophon", "date": "1935", "subject": "10 inches shellac record; Ethiopia; Colonisation", "identifier": "GP 91703", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0404.html" }, { "title": "Voce dall’Africa", "creator": "Parlophon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation", "identifier": "GP 91728", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0405.html" }, { "title": "O rondinella camicina nera", "creator": "Parlophon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Military; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "GP 91728", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0406.html" }, { "title": "Canti d'Africa (Marcia su motivi di canzoni di attualità: Adua; Ti saluto, vado in Abissinia; La cara Teresina; Macallé; Faccetta nera)", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory; African Women", "identifier": "GP 91898", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0407.html" }, { "title": "Fanciulle d'Italia", "creator": "Parlophon", "date": "1936", "subject": "10 inches shellac record; Girls", "identifier": "GP 91898", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0408.html" }, { "title": "Faccetta nera", "creator": "Parlophon", "date": "1936", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; African Women", "identifier": "GP 91787", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0409.html" }, { "title": "La leggenda del Piave", "creator": "Parlophon", "date": "1936", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "GP 91787", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0410.html" }, { "title": "Inno a Roma", "creator": "Parlophon", "date": "1936", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "identifier": "GP 92076", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0411.html" }, { "title": "Giovinezza", "creator": "Parlophon", "date": "1936", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "GP 92076", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0412.html" }, { "title": "Balilla", "creator": "Parlophon", "date": "1936", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "GP 91819", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0413.html" }, { "title": "Bimbe d'Italia", "creator": "Parlophon", "date": "1936", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Girls; Piccole Italiane; Opera Nazionale Balilla", "identifier": "GP 91819", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0414.html" }, { "title": "Inno ufficiale degli studenti universitari fascisti", "creator": "Parlophon", "date": "1936", "description": "This recording represents fascist university and student organizations.", "subject": "10 inches shellac record; Youth; Institution; Studenti Universitari Fascisti", "identifier": "GP 91797", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0415.html" }, { "title": "Inno ufficiale dei Giovani fascisti", "creator": "Parlophon", "date": "1936", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "10 inches shellac record; Youth; Institution; Giovani Fascisti", "identifier": "GP 91797", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0416.html" }, { "title": "La marcia delle legioni (inno imperiale)", "creator": "Parlophon", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "12 inches shellac record; Mussolinismo; Military; Legion; Empire", "identifier": "P 56104", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0417.html" }, { "title": "Preghiera del milite", "creator": "Parlophon", "date": "1936", "subject": "12 inches shellac record; War; Futurism", "identifier": "P 56104", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0418.html" }, { "title": "Giovinezza", "creator": "Parlophon", "date": "1936", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "B 7598", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0419.html" }, { "title": "Inno al Duce", "creator": "Parlophon", "date": "1936", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo", "identifier": "B 7598", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0420.html" }, { "title": "Amba Alagi", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Martyr; War; Ethiopia; Colonisation; Victory", "identifier": "GP 91897", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0421.html" }, { "title": "Letterine d'Africa", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Love", "identifier": "GP 91897", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0422.html" }, { "title": "Carovane del Tigrai", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "GP 91896", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0423.html" }, { "title": "Chissà il negus che cosa dirà", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Satire; Haile Selassie; War", "identifier": "GP 91896", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0424.html" }, { "title": "Casetta Abissina", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation", "identifier": "GP 91974", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0425.html" }, { "title": "Italia Imperiale", "creator": "Parlophon", "date": "1936", "subject": "10 inches shellac record; Victory; Empire", "identifier": "GP 91974", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0426.html" }, { "title": "Combatti e spera", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation", "identifier": "GP 91956", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0427.html" }, { "title": "Marcetta colorata", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation", "identifier": "GP 91956", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0428.html" }, { "title": "E l'italiano canta", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "GP 91917", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0429.html" }, { "title": "Ci rivedremo… (A Addis Abeba..!)", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "GP 91917", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0430.html" }, { "title": "Figlio mio", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "identifier": "GP 91872", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0431.html" }, { "title": "Voce dall’Africa", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation", "identifier": "GP 91872", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0432.html" }, { "title": "Figlio mio", "creator": "Parlophon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "identifier": "GP 91770", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0433.html" }, { "title": "Ala Azzura", "creator": "Parlophon", "date": "1935", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Aviation", "identifier": "GP 91770", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0434.html" }, { "title": "Fiore Imperiale", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; War; Victory; Empire; African Women", "identifier": "GP 91839", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0435.html" }, { "title": "Ritorna il legionario", "creator": "Parlophon", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Victory; Empire; Military; Legion", "identifier": "GP 91839", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0436.html" }, { "title": "l'Ha detto Mussolini", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This recording represents the Opera Nazionale Dopolavoro (OND) or participates in promoting the leisure policy it implements. Created in 1925 by the regime, the OND was aimed at workers, whose unions it intended to replace (the site of an intolerable socialist policy opposed with great violence) and to organize leisure time (\"Dopolavoro\"). By bringing together several thousand workers' associations engaged in a wide range of activities, and directing them in line with Fascist policies, the OND enabled the regime to put down roots in the world of work, organize a significant part of Italians' leisure time by mixing politics and culture, and invest a little more of their private lives. In this way, it contributed to the realization of Fascist totalitarianism (see Victoria De Grazia, \"Dopolavoro\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, pp. 443-447). Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo; Ethiopia; Colonisation; Concorso Piedigrotta; Opera Nazionale Dopolavoro.", "identifier": "GP 91973", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0437.html" }, { "title": "Italia a noi !", "creator": "Parlophon", "date": "1936", "subject": "10 inches shellac record; War; Nation", "identifier": "GP 91973", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0438.html" }, { "title": "Inno d'Africa", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "GP 91766", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0439.html" }, { "title": "L'Italia che faceva comodo", "creator": "Parlophon", "date": "1936", "subject": "10 inches shellac record; Nation", "identifier": "GP 91766", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0440.html" }, { "title": "Inno d'Africa", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Colonisation; Ethiopia; War", "identifier": "GP 91768", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0441.html" }, { "title": "Noi tireremo diritto", "creator": "Parlophon", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy", "identifier": "GP 91768", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0442.html" }, { "title": "L'Italia che faceva comodo", "creator": "Parlophon", "date": "1936", "subject": "10 inches shellac record; Nation", "identifier": "GP 91769", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0443.html" }, { "title": "Me ne frego", "creator": "Parlophon", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy", "identifier": "GP 91769", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0444.html" }, { "title": "Legionaria", "creator": "Parlophon", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Military; Legion", "identifier": "GP 91906", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0445.html" }, { "title": "Signora notte", "creator": "Parlophon", "date": "1936", "subject": "10 inches shellac record; Light Music; Love", "identifier": "GP 91906", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0446.html" }, { "title": "Legionari d'Africa", "creator": "Parlophon", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Military; Legion", "identifier": "GP 91916", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0447.html" }, { "title": "Voce d'Italia", "creator": "Parlophon", "date": "1936", "subject": "10 inches shellac record; Nation", "identifier": "GP 91916", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0448.html" }, { "title": "La Macallera", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Victory", "identifier": "GP 91957", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0449.html" }, { "title": "Volontari", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Mobilisation", "identifier": "GP 91957", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0450.html" }, { "title": "Noi tireremo diritto", "creator": "Parlophon", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy", "identifier": "GP 91771", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0451.html" }, { "title": "Canzone azzura", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Aviation", "identifier": "GP 91771", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0452.html" }, { "title": "Patria", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Nation; Colonisation; Ethiopia", "identifier": "GP 91915", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0453.html" }, { "title": "Inno dell'Africa Orientale", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Empire; Colonisation; Ethiopia", "identifier": "GP 91915", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0454.html" }, { "title": "Rapsodia africana - Parte I (Faccetta nera - Voce dall’Africa - Luce di Roma - Ala azzura)", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Romanità; Empire; Colonisation; Ethiopia ", "identifier": "GP 91835", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0455.html" }, { "title": "Rapsodia africana - Parte II (Figlio moi - Ti saluto vado in Abissinia - Cara mamma - Noi tireremo diritto", "creator": "Parlophon", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Colonisation; Autarchy", "identifier": "GP 91835", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0456.html" }, { "title": "Luce di Roma", "creator": "Parlophon", "date": "1935", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Romanità; Town", "identifier": "GP 91635", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0457.html" }, { "title": "La continentale", "creator": "Parlophon", "date": "1935", "description": "This song is from the movie \"Allegro divorzio\".", "subject": "10 inches shellac record; Movie", "identifier": "GP 91635", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0458.html" }, { "title": "Luce di Roma", "creator": "Parlophon", "date": "1935", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Romanità; Town", "identifier": "GP 91688", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0459.html" }, { "title": "Il mondo gira e se va (stornelli d’attualità)", "creator": "Parlophon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "identifier": "GP 91688", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, Catalogo dischi, Volume III, July-December 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0460.html" }, { "title": "Rapsodia nera - Parte I (\"Saluto al Duce\" \"Chissà il negus cosa dirà\" \"Ē il nostro fante\" \"Adua\")", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Haile Selassie; Childhood; Education; Boys; Institution; Opera Nazionale Balilla", "identifier": "GP 91894", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0461.html" }, { "title": "Rapsodia nera - Parte II (\"Ci rivedremo ad Addis Abeba\" \"Amba Alagi\" \"Legionaria\" \"Adigrat\")", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Martyr; Victory", "identifier": "GP 91894", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0462.html" }, { "title": "Cara mamma", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; War; Ethiopia; Colonisation", "identifier": "GP 91772", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0463.html" }, { "title": "Verso l'Impero Italico", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Empire", "identifier": "GP 91772", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0464.html" }, { "title": "Storielle del Negus", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Satire; Haile Selassie", "identifier": "GP 91895", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0465.html" }, { "title": "Va via d’Italia (o mercante straniere)", "creator": "Parlophon", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy", "identifier": "GP 91895", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0466.html" }, { "title": "Ti mandero' una cartolina", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Military; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "GP 91815", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0467.html" }, { "title": "Rataplan delle Camicie Nere", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Military; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "GP 91815", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0468.html" }, { "title": "Ti portero' con me in Abissinia", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation", "identifier": "GP 91918", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0469.html" }, { "title": "Sotto il cielo di Bligny", "creator": "Parlophon", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; Ethiopia; War", "identifier": "GP 91918", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0470.html" }, { "title": "Carovane del Tigrai", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "8 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "G 123", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0471.html" }, { "title": "Non ti scordar di me", "creator": "Parlophon", "date": "1936", "subject": "8 inches shellac record; Light Music", "identifier": "G 123", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0472.html" }, { "title": "Ci rivedremo… (A Addis Abeba..!)", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "8 inches shellac record; War; Ethiopia; Colonisation; Empire", "identifier": "G 115", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0473.html" }, { "title": "Belzebù", "creator": "Parlophon", "date": "1936", "subject": "8 inches shellac record; Light Music", "identifier": "G 115", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0474.html" }, { "title": "Luce di Roma", "creator": "Parlophon", "date": "1936", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Romanità; Town", "identifier": "GP 91626", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0475.html" }, { "title": "Gli animali danzanti", "creator": "Parlophon", "date": "1936", "subject": "10 inches shellac record; Light Music", "identifier": "GP 91626", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0476.html" }, { "title": "Fiore Imperiale", "creator": "Parlophon", "date": "1937", "subject": "10 inches shellac record; War; Victory; Empire; African Women", "identifier": "GP 92023", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0477.html" }, { "title": "Ritorna il legionario", "creator": "Parlophon", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Victory; Empire; Military; Legion", "identifier": "GP 92023", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0478.html" }, { "title": "Guadalajara", "creator": "Parlophon", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Spanish Civil War; Military; Legion; Institution; Corpo Truppe Volontarie", "identifier": "GP 92254", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0479.html" }, { "title": "Tornerà", "creator": "Parlophon", "date": "1937", "subject": "10 inches shellac record; Light Music", "identifier": "GP 92254", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0480.html" }, { "title": "Guadalajara", "creator": "Parlophon", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Spanish Civil War; Military; Legion; Institution; Corpo Truppe Volontarie", "identifier": "GP 92293", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0481.html" }, { "title": "La canzone di Maria Uva", "creator": "Parlophon", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). Maria Uva, a French national of Italian origin living in Egypt, became famous in Italy and among the soldiers leaving for the Ethiopian war for celebrating and encouraging them on their journey through the Suez Canal. She was nicknamed \"la Madonnina dei legionari\", embodying a protective, maternal figure.", "subject": "10 inches shellac record; Ethiopia; War; Military; Legion", "identifier": "GP 92293", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0482.html" }, { "title": "Marcia dell'imperatore (dal film : \"L'Imperatore della California\")", "creator": "Parlophon", "date": "1937", "subject": "10 inches shellac record; Movie; Light Music", "identifier": "GP 92145", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0483.html" }, { "title": "Legionari di Spagna", "creator": "Parlophon", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Spanish Civil War; Military; Legion", "identifier": "GP 92145", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0484.html" }, { "title": "Me ne frego", "creator": "Parlophon", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy", "identifier": "GP 91767", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0485.html" }, { "title": "Noi tireremo diritto", "creator": "Parlophon", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy", "identifier": "GP 91767", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1937", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0486.html" }, { "title": "Ritorna il legionario", "creator": "Parlophon", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Victory; Empire; Military; Legion", "identifier": "GP 92077", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0487.html" }, { "title": "Sul lago Tana", "creator": "Parlophon", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Martyr; Love", "identifier": "GP 92077", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Parlophon, January 1, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0488.html" }, { "title": "Parata ungherese", "creator": "Parlophon", "description": "During the ventennio, national anthems and other songs representative of a nation are sometimes released on record at a time when the Fascist regime has very good relations, or an alliance, with a foreign nation. Releasing these foreign anthems on record was probably a way of representing these diplomatic relations and cultivating a feeling of sympathy, even closeness, between the peoples of the nations involved.", "subject": "10 inches shellac record; Diplomacy; Hungary; Military", "identifier": "B 71026", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0489.html" }, { "title": "Hunyady", "creator": "Parlophon", "description": "During the ventennio, national anthems and other songs representative of a nation are sometimes released on record at a time when the Fascist regime has very good relations, or an alliance, with a foreign nation. Releasing these foreign anthems on record was probably a way of representing these diplomatic relations and cultivating a feeling of sympathy, even closeness, between the peoples of the nations involved.", "subject": "10 inches shellac record; Diplomacy; Hungary; Military", "identifier": "B 71026", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0490.html" }, { "title": "Shvey", "creator": "Parlophon", "description": "During the ventennio, national anthems and other songs representative of a nation are sometimes released on record at a time when the Fascist regime has very good relations, or an alliance, with a foreign nation. Releasing these foreign anthems on record was probably a way of representing these diplomatic relations and cultivating a feeling of sympathy, even closeness, between the peoples of the nations involved.", "subject": "10 inches shellac record; Diplomacy; Hungary; Military", "identifier": "B 71027", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0491.html" }, { "title": "Toldi", "creator": "Parlophon", "description": "During the ventennio, national anthems and other songs representative of a nation are sometimes released on record at a time when the Fascist regime has very good relations, or an alliance, with a foreign nation. Releasing these foreign anthems on record was probably a way of representing these diplomatic relations and cultivating a feeling of sympathy, even closeness, between the peoples of the nations involved.", "subject": "10 inches shellac record; Diplomacy; Hungary; Military", "identifier": "B 71027", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0492.html" }, { "title": "Fucilieri di marina", "creator": "Parlophon", "date": "1938 ?", "subject": "10 inches shellac record; War; Military; Institution; Navy", "identifier": "GP 92557", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0493.html" }, { "title": "Amor perdona (dalla commedia : \"Re Aroldo\")", "creator": "Parlophon", "date": "1938 ?", "subject": "10 inches shellac record; Light Music", "identifier": "GP 92557", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0494.html" }, { "title": "Giovinezza", "creator": "Parlophon", "date": "1939", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth; Institution; Childhood; Education; Gioventù Italiana del Littorio", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1939", "identifier": "GP 92841", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0495.html" }, { "title": "Impero", "creator": "Parlophon", "date": "1939", "subject": "10 inches shellac record; Childhood; Education; Gioventù Italiana del Littorio; Empire", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1939", "identifier": "GP 92841", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0496.html" }, { "title": "Giovinezza", "creator": "Parlophon", "date": "1939", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth; Childhood; Education; Gioventù Italiana del Littorio", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1939", "identifier": "GP 92842", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0497.html" }, { "title": "Etiopia", "creator": "Parlophon", "date": "1939", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa. It is dedicated to Benito Mussolini, \" Founder of the Empire \".", "subject": "10 inches shellac record; Childhood; Education; Gioventù Italiana del Littorio; Colonisation; Ethiopia", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1939", "identifier": "GP 92842", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0498.html" }, { "title": "Giovinezza", "creator": "Parlophon", "date": "1939", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth; Childhood; Education; Gioventù Italiana del Littorio", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1939", "identifier": "GP 92843", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0499.html" }, { "title": "Inno a Roma", "creator": "Parlophon", "date": "1939", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Childhood; Education; Gioventù Italiana del Littorio; Romanità; Town", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1939", "identifier": "GP 92843", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0500.html" }, { "title": "Cantate di legionari", "creator": "Parlophon", "date": "1937 ?", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Military; Legion", "identifier": "GP 92049", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0501.html" }, { "title": "L’aquila legionaria", "creator": "Parlophon", "date": "1937 ?", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Military; Legion", "identifier": "GP 92049", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0502.html" }, { "title": "La legione della lupa", "creator": "Parlophon", "date": "1937 ?", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1938", "identifier": "GP 92408", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra catalogo dischi 1942 / Corriere Musicale Rassegna Fonografica 15/04/1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0503.html" }, { "title": "Balilla", "creator": "Parlophon", "date": "1937 ?", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1938", "identifier": "GP 92408", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra catalogo dischi 1942 / Corriere Musicale Rassegna Fonografica 15/04/1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0504.html" }, { "title": "Natale in Africa orientale - Parte I - Bozzetto", "creator": "Parlophon", "date": "1937 ?", "subject": "10 inches shellac record; Christmas; Colonisation; Empire", "identifier": "GP 92057", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0505.html" }, { "title": "Natale in Africa orientale - Parte II - Bozzetto", "creator": "Parlophon", "date": "1937 ?", "subject": "10 inches shellac record; Christmas; Colonisation; Empire", "identifier": "GP 92057", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0506.html" }, { "title": "Natale fascista", "creator": "Parlophon", "date": "1938", "subject": "10 inches shellac record; Christmas", "source": "Corriere Musicale Rassegna Fonografica, December 15, 1938", "identifier": "GP 92677", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0507.html" }, { "title": "Babbo Natale", "creator": "Parlophon", "date": "1938", "subject": "10 inches shellac record; Christmas", "source": "Corriere Musicale Rassegna Fonografica, December 15, 1938", "identifier": "GP 92677", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra Parlophon, April 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0508.html" }, { "title": "Marcia reale", "creator": "Cetra", "date": "1939", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Risorgimento; Nation", "identifier": "IT 601", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0509.html" }, { "title": "Giovinezza", "creator": "Cetra", "date": "1939", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "IT 601", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0510.html" }, { "title": "Marcia delle Legioni", "creator": "Cetra", "date": "1939", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Military; Legion", "identifier": "IT 607", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0511.html" }, { "title": "Inno degli Universitari Fascisti", "creator": "Cetra", "date": "1939", "description": "This recording represents fascist university and student organizations.", "subject": "10 inches shellac record; Youth; Institution; Studenti Universitari Fascisti", "identifier": "IT 607", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0512.html" }, { "title": "O ramoscello di bambù flessible e fiorito - Parte I", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 653", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0513.html" }, { "title": "O ramoscello di bambù flessible e fiorito - Parte II", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 653", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0514.html" }, { "title": "O medico delle anime, curami col tuo balsamo - Parte I", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 654", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0515.html" }, { "title": "O medico delle anime, curami col tuo balsamo - Parte II", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 654", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0516.html" }, { "title": "Innalziamo l'inno - Parte I - Canto islamico in lode del Profeta", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 655", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0517.html" }, { "title": "Innalziamo l'inno - Parte II - Canto islamico in lode del Profeta", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 655", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0518.html" }, { "title": "Ti-Ti ", "creator": "Parlophon", "date": "1939", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Arabic World; Love; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "PE 72", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0519.html" }, { "title": "Cuore innamorato riposa (canzone egiziana)", "creator": "Parlophon", "date": "1939", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "PE 72", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0520.html" }, { "title": "O profeta - Parte I (Canto islamico invocativo)", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Arabic World; Colonisation; Empire; Sacred Music; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "PE 75", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0521.html" }, { "title": "O profeta - Parte II (Canto islamico invocativo)", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Arabic World; Colonisation; Empire; Sacred Music; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "PE 75", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0522.html" }, { "title": "Abito e involto del lattante - Parte I", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records designed by the General Directorate of Public Health (Direzione Generale della Sanità Pubblica) of the Ministry of the Interior (Ministero dell'Interno) to encourage Italian families to adopt good domestic practices in order to maintain good health, mental and physical condition. ", "subject": "10 inches shellac record; Institution; Ministry; Health", "identifier": "IT 641", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0523.html" }, { "title": "Abito e involto del lattante - Parte II", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records designed by the General Directorate of Public Health (Direzione Generale della Sanità Pubblica) of the Ministry of the Interior (Ministero dell'Interno) to encourage Italian families to adopt good domestic practices in order to maintain good health, mental and physical condition. ", "subject": "10 inches shellac record; Institution; Ministry; Health", "identifier": "IT 641", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0524.html" }, { "title": "Sei personaggi… in cerci di attori - Parte I", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records designed by the General Directorate of Public Health (Direzione Generale della Sanità Pubblica) of the Ministry of the Interior (Ministero dell'Interno) to encourage Italian families to adopt good domestic practices in order to maintain good health, mental and physical condition. ", "subject": "10 inches shellac record; Institution; Ministry; Health; Scene", "identifier": "IT 642", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0525.html" }, { "title": "Sei personaggi… in cerci di attori - Parte II", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records designed by the General Directorate of Public Health (Direzione Generale della Sanità Pubblica) of the Ministry of the Interior (Ministero dell'Interno) to encourage Italian families to adopt good domestic practices in order to maintain good health, mental and physical condition. ", "subject": "10 inches shellac record; Institution; Ministry; Health; Scene", "identifier": "IT 642", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0526.html" }, { "title": "Sei personaggi… in cerci di attori - Parte III", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records designed by the General Directorate of Public Health (Direzione Generale della Sanità Pubblica) of the Ministry of the Interior (Ministero dell'Interno) to encourage Italian families to adopt good domestic practices in order to maintain good health, mental and physical condition. ", "subject": "10 inches shellac record; Institution; Ministry; Health; Scene", "identifier": "IT 643", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0527.html" }, { "title": "Sei personaggi… in cerci di attori - Parte IV", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records designed by the General Directorate of Public Health (Direzione Generale della Sanità Pubblica) of the Ministry of the Interior (Ministero dell'Interno) to encourage Italian families to adopt good domestic practices in order to maintain good health, mental and physical condition. ", "subject": "10 inches shellac record; Institution; Ministry; Health; Scene", "identifier": "IT 643", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0528.html" }, { "title": "L'educazione fisica - Parte I", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records designed by the General Directorate of Public Health (Direzione Generale della Sanità Pubblica) of the Ministry of the Interior (Ministero dell'Interno) to encourage Italian families to adopt good domestic practices in order to maintain good health, mental and physical condition. ", "subject": "10 inches shellac record; Institution; Ministry; Health", "identifier": "IT 644", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0529.html" }, { "title": "L'educazione fisica - Parte II", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records designed by the General Directorate of Public Health (Direzione Generale della Sanità Pubblica) of the Ministry of the Interior (Ministero dell'Interno) to encourage Italian families to adopt good domestic practices in order to maintain good health, mental and physical condition. ", "subject": "10 inches shellac record; Institution; Ministry; Health", "identifier": "IT 644", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0530.html" }, { "title": "Amare le piante e i fiori - Parte I", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records designed by the General Directorate of Public Health (Direzione Generale della Sanità Pubblica) of the Ministry of the Interior (Ministero dell'Interno) to encourage Italian families to adopt good domestic practices in order to maintain good health, mental and physical condition. ", "subject": "10 inches shellac record; Institution; Ministry; Health", "identifier": "IT 617", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0531.html" }, { "title": "Amare le piante e i fiori - Parte II", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records designed by the General Directorate of Public Health (Direzione Generale della Sanità Pubblica) of the Ministry of the Interior (Ministero dell'Interno) to encourage Italian families to adopt good domestic practices in order to maintain good health, mental and physical condition. ", "subject": "10 inches shellac record; Institution; Ministry; Health", "identifier": "IT 617", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0532.html" }, { "title": "Viva il sole e l'aria pura - Parte I", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records designed by the General Directorate of Public Health (Direzione Generale della Sanità Pubblica) of the Ministry of the Interior (Ministero dell'Interno) to encourage Italian families to adopt good domestic practices in order to maintain good health, mental and physical condition. ", "subject": "10 inches shellac record; Institution; Ministry; Health", "identifier": "IT 618", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0533.html" }, { "title": "Viva il sole e l'aria pura - Parte II", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records designed by the General Directorate of Public Health (Direzione Generale della Sanità Pubblica) of the Ministry of the Interior (Ministero dell'Interno) to encourage Italian families to adopt good domestic practices in order to maintain good health, mental and physical condition. ", "subject": "10 inches shellac record; Institution; Ministry; Health", "identifier": "IT 618", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0534.html" }, { "title": "Viva l'acque pura e fresca - Parte I", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records designed by the General Directorate of Public Health (Direzione Generale della Sanità Pubblica) of the Ministry of the Interior (Ministero dell'Interno) to encourage Italian families to adopt good domestic practices in order to maintain good health, mental and physical condition. ", "subject": "10 inches shellac record; Institution; Ministry; Health", "identifier": "IT 619", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0535.html" }, { "title": "Viva l'acque pura e fresca - Parte II", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records designed by the General Directorate of Public Health (Direzione Generale della Sanità Pubblica) of the Ministry of the Interior (Ministero dell'Interno) to encourage Italian families to adopt good domestic practices in order to maintain good health, mental and physical condition. ", "subject": "10 inches shellac record; Institution; Ministry; Health", "identifier": "IT 619", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0536.html" }, { "title": "Casa linda vita lunga - Parte I", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records designed by the General Directorate of Public Health (Direzione Generale della Sanità Pubblica) of the Ministry of the Interior (Ministero dell'Interno) to encourage Italian families to adopt good domestic practices in order to maintain good health, mental and physical condition. ", "subject": "10 inches shellac record; Institution; Ministry; Health", "identifier": "IT 620", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0537.html" }, { "title": "Casa linda vita lunga - Parte II", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records designed by the General Directorate of Public Health (Direzione Generale della Sanità Pubblica) of the Ministry of the Interior (Ministero dell'Interno) to encourage Italian families to adopt good domestic practices in order to maintain good health, mental and physical condition. ", "subject": "10 inches shellac record; Institution; Ministry; Health", "identifier": "IT 620", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, November 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0538.html" }, { "title": "Mediterraneo", "creator": "Cetra", "date": "1940", "subject": "10 inches shellac record; War; Military; Martyr", "identifier": "IT 779", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, October 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0539.html" }, { "title": "Marcia delle Legioni", "creator": "Cetra", "date": "1940", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; World War II; Military; Legion", "identifier": "IT 779", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, October 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0540.html" }, { "title": "Fanteria gloriosa", "creator": "Cetra", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Military", "identifier": "IT 774", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, October 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0541.html" }, { "title": "Legione vittoriosa", "creator": "Cetra", "date": "1940", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; World War II; Military; Legion", "identifier": "IT 774", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, October 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0542.html" }, { "title": "Inno della Legione Universit. \"Principe di Piemonte\"", "creator": "Cetra", "date": "1940", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; World War II; Military; Legion", "identifier": "IT 777", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, October 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0543.html" }, { "title": "Stornelli al campo", "creator": "Cetra", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II", "identifier": "IT 777", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, October 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0544.html" }, { "title": "Passano i battaglioni", "creator": "Cetra", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II", "identifier": "GP 93145", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, October 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0545.html" }, { "title": "Vincere", "creator": "Cetra", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Military", "identifier": "GP 93145", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, October 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0546.html" }, { "title": "Stornelli di Radio Sociale - Parte I", "creator": "Cetra", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Ente Italiano per le Audizioni Radiofoniche; Radio Sociale", "identifier": "IT 733", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, October 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0547.html" }, { "title": "Stornelli di Radio Sociale - Parte II", "creator": "Cetra", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Ente Italiano per le Audizioni Radiofoniche; Radio Sociale", "identifier": "IT 733", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra, October 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0548.html" }, { "title": "Squadristi, a noi !", "creator": "Cetra", "date": "1940 ?", "subject": "10 inches shellac record; Partito Nazionale Fascista; Violence", "identifier": "IT 569", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0549.html" }, { "title": "Canta monella", "creator": "Cetra", "date": "1940 ?", "subject": "10 inches shellac record; Light Music; Love", "identifier": "IT 569", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0550.html" }, { "title": "Tobbela (ai bevitori di thè) - Parte I", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "identifier": "IT 665", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0551.html" }, { "title": "Tobbela (ai bevitori di thè) - Parte II", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "identifier": "IT 665", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0552.html" }, { "title": "Zocra beduina (Oggi mi è apparsa)", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "identifier": "IT 666", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0553.html" }, { "title": "Zocra beduina (Occhi mei)", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "identifier": "IT 666", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0554.html" }, { "title": "I tre fannulloni (Racconto umoristico) - Parte I", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 667", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0555.html" }, { "title": "I tre fannulloni (Racconto umoristico) - Parte II", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 667", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0556.html" }, { "title": "Baz isauita", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 728", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0557.html" }, { "title": "Canti Cassada", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 728", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0558.html" }, { "title": "Rumba sudanese - Parte I ", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 729", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0559.html" }, { "title": "Rumba sudanese - Parte II", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 729", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0560.html" }, { "title": "Canzoni del Fezzan - Parte I", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 730", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0561.html" }, { "title": "Canzoni del Fezzan - Parte II", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 730", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0562.html" }, { "title": "Tobbela (Canto Beduino)", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 731", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0563.html" }, { "title": "Mageruda (Canto Beduino)", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 731", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0564.html" }, { "title": "Mageruda (Sono il poeta del buon consiglio) - Parte I", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "Corriere Musicale Rassegna Fonografica, September 1939", "identifier": "PE 73", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0565.html" }, { "title": "Mageruda (Sono il poeta del buon consiglio) - Parte II", "creator": "Cetra", "date": "1939", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "Corriere Musicale Rassegna Fonografica, September 1939", "identifier": "PE 73", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0566.html" }, { "title": "Richiamo del Muezzin alla preghiera e canti laudativi del Profeta - Parte I", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Arabic World; Colonisation; Empire; Sacred Music; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "PE 79", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0567.html" }, { "title": "Richiamo del Muezzin alla preghiera e canti laudativi del Profeta - Parte II", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Arabic World; Colonisation; Empire; Sacred Music; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "PE 79", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0568.html" }, { "title": "Canti Maluf - Parte I", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "PE 80", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0569.html" }, { "title": "Canti Maluf - Parte II", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "PE 80", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0570.html" }, { "title": "Canti Sulamia", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "PE 81", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0571.html" }, { "title": "Canzone e ritmi libici", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Libya; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "PE 81", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0572.html" }, { "title": "Zocra beduina", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "identifier": "PE 82", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0573.html" }, { "title": "Magrunz", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "identifier": "PE 82", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0574.html" }, { "title": "Laiali Tauscich e Dor - Parte I", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "PE 83", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0575.html" }, { "title": "Laiali Tauscich e Dor - Parte II", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Arabic World; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "PE 83", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0576.html" }, { "title": "Canzone antica tripolina - Parte I", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Libya; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "PE 84", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0577.html" }, { "title": "Canzone antica tripolina - Parte II", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "12 inches shellac record; Libya; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "PE 84", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0578.html" }, { "title": "Marcia caratteristica della \"Nuba\" - Parte I", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 660", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0579.html" }, { "title": "Marcia caratteristica della \"Nuba\" - Parte II", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 660", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0580.html" }, { "title": "Fantasia di Ascari del Deposito truppe coloniali di Addis Abeba - Parte I", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 661", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0581.html" }, { "title": "Fantasia di Ascari del Deposito truppe coloniali di Addis Abeba - Parte II", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 661", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0582.html" }, { "title": "Canto di uollo (Duetto d’amore)", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 662", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0583.html" }, { "title": "Canto di Bati (Canzone d’amore)", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 662", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0584.html" }, { "title": "Chibretalem (Rimbrotto di innamorato)", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 663", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0585.html" }, { "title": "Scegaubire (Bel giovanotto)", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 663", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0586.html" }, { "title": "Lode alla Madonna", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Sacred Music; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 679", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0587.html" }, { "title": "Lode a Dio", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Sacred Music; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 679", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0588.html" }, { "title": "Lode all'Abuna Johannes", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Sacred Music; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 680", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0589.html" }, { "title": "Lode a S. M. Vittorio Emanuele III, Re Imperatore", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Sacred Music; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 680", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0590.html" }, { "title": "Preghiera a San Gabriele", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Sacred Music; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 681", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0591.html" }, { "title": "Preghiera a San Michele", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Sacred Music; Folklore", "source": "\" I canti delle Terre d’Oltremare \", Radiocorriere, June 16, 1940, p. 16", "identifier": "IT 681", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0592.html" }, { "title": "Incitamento alla gioventù", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Colonisation; Ethiopia; Empire; Childhood; Youth; Folklore", "identifier": "IT 708", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0593.html" }, { "title": "Canzone di amore uollo", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Love; Folklore", "identifier": "IT 708", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0594.html" }, { "title": "Lode all'Italia (Canto Jemenita)", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Folklore", "identifier": "IT 709", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0595.html" }, { "title": "Il ben consigliare (Canto sacro Jemenita)", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Sacred Music; Folklore", "identifier": "IT 709", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0596.html" }, { "title": "Il bravo guerriero", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Folklore; Empire", "identifier": "IT 710", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0597.html" }, { "title": "Oh, Gesù Cristo", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Sacred Music; Folklore", "identifier": "IT 710", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0598.html" }, { "title": "Fantasia di Ascari Eritrei copti del Deposito truppe coloniali di Addis Abeba - Parte I", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Folklore", "identifier": "IT 711", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0599.html" }, { "title": "Fantasia di Ascari Eritrei copti del Deposito truppe coloniali di Addis Abeba - Parte II", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Folklore", "identifier": "IT 711", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0600.html" }, { "title": "Fantasia di Ascari Eritrei copti del Deposito truppe coloniali di Addis Abeba", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Folklore", "identifier": "IT 712", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0601.html" }, { "title": "Ammaina bandiera al Deposito truppe coloniali di Addis Abeba", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Childhood; Ethiopia; Colonisation; Empire; Sacred Music; Folklore", "identifier": "IT 712", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0602.html" }, { "title": "Lode all'Italia (Canto di bimbi amhara)", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Sacred Music; Childhood; Folklore", "identifier": "IT 713", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0603.html" }, { "title": "Duetto d'amore amhara", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Love; Folklore; Empire", "identifier": "IT 713", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0604.html" }, { "title": "Canto d'amore amhara", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Love; Folklore; Empire", "identifier": "IT 714", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0605.html" }, { "title": "Canzone d'amore amhara", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Love; Folklore; Empire", "identifier": "IT 714", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0606.html" }, { "title": "Canzone ai morti", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Love; Folklore; Empire", "identifier": "IT 715", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0607.html" }, { "title": "Duetto d'amore amhara", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Love; Folklore; Empire", "identifier": "IT 715", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0608.html" }, { "title": "Fantasia di Ascari Eritrei mussulmani del Deposito truppe coloniali di Addis Abeba - Parte I", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Deposito truppe coloniali di Addis Abeba; Folklore", "identifier": "IT 716", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0609.html" }, { "title": "Fantasia di Ascari Eritrei mussulmani del Deposito truppe coloniali di Addis Abeba - Parte II", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Deposito truppe coloniali di Addis Abeba; Folklore", "identifier": "IT 716", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0610.html" }, { "title": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte I", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Deposito truppe coloniali di Addis Abeba; Folklore", "identifier": "IT 717", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0611.html" }, { "title": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte II", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Deposito truppe coloniali di Addis Abeba; Folklore", "identifier": "IT 717", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0612.html" }, { "title": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte I", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Deposito truppe coloniali di Addis Abeba; Folklore", "identifier": "IT 718", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0613.html" }, { "title": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte II", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Deposito truppe coloniali di Addis Abeba; Folklore", "identifier": "IT 718", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0614.html" }, { "title": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte I", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Deposito truppe coloniali di Addis Abeba; Folklore", "identifier": "IT 719", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0615.html" }, { "title": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte II", "creator": "Cetra", "date": "1940", "description": "This recording is part of a series of records of folk songs in Amharic (Ethiopia) and Arabic published by Cetra, a record company founded by EIAR (Ente Italiano per le Audizioni Radiofoniche), the agency responsible for managing the radio network and programs in Fascist Italy. Most of these records are advertised as \"songs from overseas lands\". They bear colonial recordings featuring native performers and musical groups either founded in Libya and Ethiopia by the EIAR, or formed by colonial troops of native soldiers (Ascari). They are thus productions of the Fascist regime, with some of the performers and titles written in Italian, showing the Italianization and fascization of local traditions thus reappropriated by the Italian colonialists. This reappropriation is further affirmed by the presence of musical groups from colonial troops, especially given the predominance of the martial imaginary in Fascist symbolism. It is probable that these recordings were broadcast on stations run by the EIAR in order to promote the new Fascist colonial empire among Italians and strengthen their relationship with it. In any case, they represent one of the facets of colonial domination, this time exercised through music, sound and phonography.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Deposito truppe coloniali di Addis Abeba; Folklore", "identifier": "IT 719", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0616.html" }, { "title": "Sul cappello", "creator": "Cetra", "date": "1940", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "B 27358", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0617.html" }, { "title": "La marcia delle legioni", "creator": "Cetra", "date": "1940", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Military; Legion", "identifier": "B 27358", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Cetra e parlophon, Ballabili, canzoni e diversi, January 1, 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0618.html" }, { "title": "Adesso viene il bello", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Victory; Italian Somalia; Egypt; United Kingdom; Axis", "identifier": "IT 998", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0619.html" }, { "title": "Vincere… Vincere… Vincere…", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military", "identifier": "IT 998", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0620.html" }, { "title": "Addio mia piccola", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).\n", "subject": "10 inches shellac record; World War II; Military; Canzoni del tempo di guerra; Love; Axis; Germany", "identifier": "DC 4001", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0621.html" }, { "title": "Vincere… Vincere… Vincere…", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).", "subject": "10 inches shellac record; World War II; Military; Canzoni del tempo di guerra", "identifier": "DC 4001", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0622.html" }, { "title": "All'armi ! Roma chiamò", "creator": "Cetra", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Military; Romanità", "source": "1940 06 16 RC_FASC_PUB", "identifier": "PE 93", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0623.html" }, { "title": "Mosè", "creator": "Cetra", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II", "source": "1940 06 16 RC_FASC_PUB", "identifier": "PE 93", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0624.html" }, { "title": "Allegre legioni", "creator": "Parlophon", "date": "1940", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Legion", "source": "1940 06 16 RC_FASC_PUB", "identifier": "GP 93131", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0625.html" }, { "title": "Gondar", "creator": "Parlophon", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Ethiopia; Colonisation", "source": "1940 06 16 RC_FASC_PUB", "identifier": "GP 93131", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0626.html" }, { "title": "L'aquilla legionaria", "creator": "Parlophon", "date": "1938", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1938", "identifier": "GP 92409", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0627.html" }, { "title": "Cantate di legionari", "creator": "Parlophon", "date": "1938", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1938", "identifier": "GP 92409", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0628.html" }, { "title": "Armi e brio", "creator": "Cetra", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military", "source": "1940 06 16 RC_FASC_PUB", "identifier": "PE 94", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0629.html" }, { "title": "Verso le mète imperiali", "creator": "Cetra", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Empire", "source": "1940 06 16 RC_FASC_PUB", "identifier": "PE 94", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0630.html" }, { "title": "Aviazione legionaria", "creator": "Parlophon", "date": "1940", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15] The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Aviation; Military; Institution; Aviazione Legionaria", "source": "1940 07 07 RC_CANTO_FASC_PUB", "identifier": "GP 93125", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0631.html" }, { "title": "Sfilano gli avieri", "creator": "Parlophon", "date": "1940", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15] The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Aviation", "source": "1940 07 07 RC_CANTO_FASC_PUB", "identifier": "GP 93125", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0632.html" }, { "title": "L'azzura bandiera", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Nation", "identifier": "IT 981", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0633.html" }, { "title": "Nuova goliarda", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Youth; Studenti Volontari", "identifier": "IT 981", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0634.html" }, { "title": "Bambina bella", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).", "subject": "10 inches shellac record; World War II; Military; Canzoni del tempo di guerra; Love", "identifier": "DC 4007", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0635.html" }, { "title": "Mamma ritornerò", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).", "subject": "10 inches shellac record; World War II; Military; Canzoni del tempo di guerra; Love; Mother", "identifier": "DC 4007", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0636.html" }, { "title": "Battaglioni M", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).", "subject": "10 inches shellac record; World War II; Military; Canzoni del tempo di guerra", "identifier": "DC 4006", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0637.html" }, { "title": "Ciao ciao, mio bell'alpin", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).", "subject": "10 inches shellac record; World War II; Military; Canzoni del tempo di guerra; Love", "identifier": "DC 4006", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0638.html" }, { "title": "Camerata", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military", "identifier": "IT 894", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0639.html" }, { "title": "Italia, a noi !", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Nation", "identifier": "IT 894", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0640.html" }, { "title": "Camerata Richard", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).", "subject": "10 inches shellac record; World War II; Military; Canzoni del tempo di guerra; Military; Germany; Diplomacy", "identifier": "DC 4002", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0641.html" }, { "title": "Sagra di Giarabub", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).", "subject": "10 inches shellac record; World War II; Military; Canzoni del tempo di guerra; Libya; United Kingdom; Defeat", "identifier": "DC 4002", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0642.html" }, { "title": "Campidoglio", "creator": "Cetra", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Romanità", "source": "1940 06 16 RC_FASC_PUB", "identifier": "PE 90", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0643.html" }, { "title": "Sempre in alto", "creator": "Cetra", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II", "source": "1940 06 16 RC_FASC_PUB", "identifier": "PE 90", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0644.html" }, { "title": "Canta la G.I.L.", "creator": "Parlophon", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Childhood; Education; Institution; Military; Gioventù Italiana del Littorio", "source": "1940 07 07 RC_CANTO_FASC_PUB", "identifier": "GP 93128", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0645.html" }, { "title": "Inno della 93a Legione M.V.S.N. \"Giglio Rosso\"", "creator": "Parlophon", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "source": "1940 07 07 RC_CANTO_FASC_PUB", "identifier": "GP 93128", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0646.html" }, { "title": "Cantata squadrista", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "IT 860", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0647.html" }, { "title": "Cantate di legionari", "creator": "Cetra", "date": "1941", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Legion", "identifier": "IT 860", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0648.html" }, { "title": "Canzone dei sommergibili", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).", "subject": "10 inches shellac record; World War II; Military; Canzoni del tempo di guerra", "identifier": "DC 4003", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0649.html" }, { "title": "Il saluto del marinaio", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).", "subject": "10 inches shellac record; World War II; Military; Canzoni del tempo di guerra", "identifier": "DC 4003", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0650.html" }, { "title": "Canzone eroica dell'89° Reggimento Fanteria \"Cosseria\"", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Institution; 89° Reggimento Fanteria \" Cosseria \"; Ethiopia; War", "identifier": "IT 778", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0651.html" }, { "title": "Non chievo dove (Inno dell'89° Riggimento Fanteria)", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Institution; 89° Reggimento Fanteria \" Cosseria \"; Ethiopia; War", "identifier": "IT 778", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0652.html" }, { "title": "Caro papà", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).", "subject": "10 inches shellac record; World War II; Military; Canzoni del tempo di guerra; Women; Mobilisation; Father", "identifier": "DC 4004", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0653.html" }, { "title": "Lili Marlen", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).", "subject": "10 inches shellac record; World War II; Military; Canzoni del tempo di guerra; Love", "identifier": "DC 4004", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0654.html" }, { "title": "Casteldelpiano", "creator": "Parlophon", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II", "identifier": "GP 93138", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0655.html" }, { "title": "Canzone eroica dell'89° Reggimento Fanteria \"Cosseria\"", "creator": "Parlophon", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Institution; 89° Reggimento Fanteria \" Cosseria \"; Ethiopia; War", "identifier": "GP 93138", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0656.html" }, { "title": "Ciao biondina", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).", "subject": "10 inches shellac record; World War II; Military; Canzoni del tempo di guerra; Love", "identifier": "DC 4008", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0657.html" }, { "title": "Serenata del soldato", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).", "subject": "10 inches shellac record; World War II; Military; Canzoni del tempo di guerra", "identifier": "DC 4008", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0658.html" }, { "title": "Ci vedremo in primavera", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).", "subject": "10 inches shellac record; World War II; Military; Canzoni del tempo di guerra", "identifier": "DC 4005", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0659.html" }, { "title": "Lunga strada", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).", "subject": "10 inches shellac record; World War II; Military; Canzoni del tempo di guerra", "identifier": "DC 4005", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0660.html" }, { "title": "Condottiero vittorioso", "creator": "Cetra", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Military; Mussolinismo", "source": "Radiocorriere, June 16, 1940. 1940", "identifier": "PE 95", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0661.html" }, { "title": "L'impero è nostro", "creator": "Cetra", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Military; Empire", "source": "Radiocorriere, June 16, 1940. 1940", "identifier": "PE 95", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0662.html" }, { "title": "Divina Patria", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Nation", "identifier": "IT 765", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0663.html" }, { "title": "Gioventù del Littorio", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Childhood; Education; Institution; Gioventù Italiana del Littorio", "identifier": "IT 765", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0664.html" }, { "title": "Doppo il lavoro", "creator": "Cetra", "date": "1939", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; Leisure; World War II", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "IT 605", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0665.html" }, { "title": "Inno sardo", "creator": "Cetra", "date": "1939", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; Sardinia; World War II", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "IT 605", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0666.html" }, { "title": "Ernani", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Opera", "identifier": "PE 92", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0667.html" }, { "title": "La straniera", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II", "identifier": "PE 92", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0668.html" }, { "title": "Eroica", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military", "identifier": "IT 912", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0669.html" }, { "title": "Marcia degli eroi", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military", "identifier": "IT 912", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0670.html" }, { "title": "Etiopia italiana", "creator": "Cetra", "date": "1941", "description": "The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Ethiopia; Colonisation; Empire", "identifier": "PE 96", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0671.html" }, { "title": "Fiamme d'argento", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Military", "identifier": "PE 96", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0672.html" }, { "title": "Fantasia militare - Parte I", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military", "identifier": "IT 899", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0673.html" }, { "title": "Fantasia militare - Parte II", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military", "identifier": "IT 899", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0674.html" }, { "title": "Fante d'Italia", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military", "identifier": "DD 10032", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0675.html" }, { "title": "Scarpini e scarponi", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II", "identifier": "DD 10032", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0676.html" }, { "title": "Festosa", "creator": "Parlophon", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II", "identifier": "GP 93137", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0677.html" }, { "title": "Marcia militare", "creator": "Parlophon", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military", "identifier": "GP 93137", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0678.html" }, { "title": "Fiamme Verdi", "creator": "Cetra", "date": "1939", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "IT 600", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0679.html" }, { "title": "Marcia del Battaglione S. Marco", "creator": "Cetra", "date": "1939", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Institution; Battaglione San Marco", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "IT 600", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0680.html" }, { "title": "Fuoco di bordata", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II", "identifier": "IT 908", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0681.html" }, { "title": "Marcia trionfale", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military", "identifier": "IT 908", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0682.html" }, { "title": "G.I.L.", "creator": "Cetra", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog. The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Childhood; Education; Institution; Gioventù Italiana del Littorio", "source": "Radiocorriere, June 16, 1940. 1940", "identifier": "PE 91", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0683.html" }, { "title": "Viva il Duce", "creator": "Cetra", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Mussolinismo", "source": "Radiocorriere, June 16, 1940. 1940", "identifier": "PE 91", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0684.html" }, { "title": "Giovinezza", "creator": "Cetra", "date": "1941", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Partito Nazionale Fascista; Institution; Youth; World War II", "identifier": "IT 1006", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0685.html" }, { "title": "Cantate di legionari", "creator": "Cetra", "date": "1941", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Legion", "identifier": "IT 1006", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0686.html" }, { "title": "La Grande Madre", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Mother", "identifier": "IT 917", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0687.html" }, { "title": "Italia, Italia (Su motivi di X. Batt. Volontari della G.I.L. dell’Urbe)", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Nation", "identifier": "IT 917", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0688.html" }, { "title": "Inno degli Universitari Fascisti ", "creator": "Cetra", "date": "1941", "description": "This recording represents fascist university and student organizations. The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Youth; Institution; Studenti Universitari Fascisti", "identifier": "IT 607", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0689.html" }, { "title": "Marcia delle Legioni ", "creator": "Cetra", "date": "1941", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Legion", "identifier": "IT 607", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0690.html" }, { "title": "Inno dell'Asse", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). During the ventennio, national anthems and other songs representative of a nation are sometimes released on record at a time when the Fascist regime has very good relations, or an alliance, with a foreign nation. Releasing these foreign anthems on record was probably a way of representing these diplomatic relations and cultivating a feeling of sympathy, even closeness, between the peoples of the nations involved. The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Diplomacy; Germany; Japan; Axis", "identifier": "IT 1165", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0691.html" }, { "title": "Inno trionfale al Duce", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Mussolinismo", "identifier": "IT 1165", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0692.html" }, { "title": "Inno del 64° Reggimento Fanteria", "creator": "Parlophon", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Institution; 64° Reggimento Fanteria", "source": "Radiocorriere, July 7, 1940. 1940", "identifier": "GP 93126", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0693.html" }, { "title": "Vita e ricordi del Fante", "creator": "Parlophon", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military", "source": "Radiocorriere, July 7, 1940. 1940", "identifier": "GP 93126", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0694.html" }, { "title": "Inno Sardo", "creator": "Cetra", "date": "1939", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Nation; Sardinia", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "IT 604", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0695.html" }, { "title": "Marcia ordinanza dei Carabinieri Reali", "creator": "Cetra", "date": "1939", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Monarchy; Institution; Carabinieri Reali", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "IT 604", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0696.html" }, { "title": "Leggenda legionaria", "creator": "Parlophon", "date": "1940", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Legion", "source": "Radiocorriere, July 7, 1940", "identifier": "GP 93046", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0697.html" }, { "title": "Squadristi, a noi !", "creator": "Parlophon", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "source": "Radiocorriere, July 7, 1940", "identifier": "GP 93046", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0698.html" }, { "title": "Legioni", "creator": "Cetra", "date": "1941", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Legion", "identifier": "IT 1146", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0699.html" }, { "title": "Marcia eroica (Parata grigioverde)", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II", "identifier": "IT 1146", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0700.html" }, { "title": "Marcia dell'Aviazione", "creator": "Cetra", "date": "1939", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15] The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Military; Aviation", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "PE 71", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0701.html" }, { "title": "Marcia dell'89 Fanteria", "creator": "Cetra", "date": "1939", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Institution; 89 Fanteria", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "PE 71", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0702.html" }, { "title": "Marcia eroica", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Military", "identifier": "PE 103", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0703.html" }, { "title": "Marcia trionfale", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Military", "identifier": "PE 103", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0704.html" }, { "title": "Marcia ordinanza dei Granatieri", "creator": "Cetra", "date": "1939", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Institution; Granatieri", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "IT 602", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0705.html" }, { "title": "Marcia ordinanza della Regia Marina", "creator": "Cetra", "date": "1939", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog. A result of the Risorgimento (the process of Italian unification), the Regia Marina Italiana (Italian Royal Navy) was the military navy of the Kingdom of Italy between 1961 and 1946. On record, its anthem, \"La Ritirata\", is often paired with Fascist hymns (e.g. \"Giovinezza\" or \"Rusticanella\").\n", "subject": "10 inches shellac record; World War II; Military; Navy; Institution; Regia Marina Italiana", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "IT 602", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0706.html" }, { "title": "Marcia ordinanza dei Carabinieri Reali", "creator": "Cetra", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Monarchy; Institution; Carabinieri Reali", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1940", "identifier": "IT 683", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0707.html" }, { "title": "Marcia reale ", "creator": "Cetra", "date": "1940", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism. The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Monarchy; Nation; Risorgimento", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1940", "identifier": "IT 683", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0708.html" }, { "title": "Marcia per l'Aeronautica", "creator": "Parlophon", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Aviation; Military; Institution; Regia Aeronautica", "source": "Radiocorriere, July 7, 1940", "identifier": "GP 93127", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0709.html" }, { "title": "Il trovatore", "creator": "Parlophon", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Opera", "source": "Radiocorriere, July 7, 1940", "identifier": "GP 93127", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0710.html" }, { "title": "Marcia trionfale", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Military", "identifier": "PE 97", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0711.html" }, { "title": "Il Conte Ory", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Opera", "identifier": "PE 97", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0712.html" }, { "title": "Ninna nanna grigioverde", "creator": "Cetra", "date": "1941", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136). This song is from the movie \" L'angelo del crepusculo \".", "subject": "10 inches shellac record; World War II; Military; Movie; Canzoni del tempo di guerra", "identifier": "AA 302", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0713.html" }, { "title": "Tu non mi lascerai", "creator": "Cetra", "date": "1941", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).", "subject": "10 inches shellac record; World War II; Canzoni del tempo di guerra; Movie; Love", "identifier": "AA 302", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0714.html" }, { "title": "Inno all’Impero", "creator": "Cetra", "date": "1939", "description": "The song's lyrics are adapted from Benito Mussolini's speech at the founding of the empire in 1936. The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; Empire; Foundation; Memorialization; World War II", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "IT 584", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0715.html" }, { "title": "Squadristi a noi !", "creator": "Cetra", "date": "1939", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Partito Nazionale Fascista", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "IT 584", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0716.html" }, { "title": "Passa la gioventù (Canto fascista)", "creator": "Cetra", "date": "1939", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Youth", "source": "Corriere Musicale Rassegna Fonografica, September 1939", "identifier": "IT 639", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0717.html" }, { "title": "Saluto al Duce", "creator": "Cetra", "date": "1939", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Childhood; Education; Boys; Institution; Opera Nazionale Balilla", "source": "Corriere Musicale Rassegna Fonografica, September 1939", "identifier": "IT 639", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0718.html" }, { "title": "Passo romano", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Military", "identifier": "IT 811", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0719.html" }, { "title": "Vinceremo", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Military", "identifier": "IT 811", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0720.html" }, { "title": "Rapsodia militare italiana (Prima - Su canti popolari di soldati) - Parte I", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Military", "identifier": "PE 106", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0721.html" }, { "title": "Rapsodia militare italiana (Prima - Su canti popolari di soldati) - Parte II", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "12 inches shellac record; World War II; Military", "identifier": "PE 106", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0722.html" }, { "title": "Rusticanella", "creator": "Cetra", "date": "1939", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "IT 608", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0723.html" }, { "title": "Vittorio Veneto", "creator": "Cetra", "date": "1939", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; World War I; Remembrance ", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "IT 608", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0724.html" }, { "title": "Canto dei volontari", "creator": "Cetra", "date": "1941", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is from the movies \" All’ombra del Negus \" and \" Amo te sola \". The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Mobilisation; Movie; Ethiopia; Colonisation", "identifier": "IT 785", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0725.html" }, { "title": "Sfilano i battaglioni", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military", "identifier": "IT 785", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0726.html" }, { "title": "Lili Marleen", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).\nA German love song from the late 1930s, \"Lili Marleen\" had no success before the Second World War, and only became a worldwide hit after its outbreak. It was translated into Italian and recorded several times by different record companies between 1941 and 1943. Carlo Ravasio, vice-secretary of the National Fascist Party, helps us to understand not only this success, but also why \"Lili Marleen\" became part of Italian war propaganda. Calling for the composition of new, more popular and effective war songs, he instructed \"that compositional themes must be free, that no programmatic constraints should bind the inspiration of artists, and that the fact of war, instead of being the subject of songs, should only constitute the ‘climate’ of the thoughts and feelings that the songs express (typical example: Lily Marlen)\" (cited in Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 133). A slow, nostalgic song, Lili Marleen has thus taken on the status of a model of the song of the time - that is, of the climate, impressions and atmosphere - of the war. It accompanies the war, and can serve to regulate the feelings of sadness or despondency that the war arouses.", "subject": "10 inches shellac record; World War II; Love; Canzoni del tempo di guerra", "identifier": "DC 4013", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0727.html" }, { "title": "Vienna, Vienna", "creator": "Cetra", "date": "1942", "description": "This song belongs to a group of songs, the \"Canzoni del tempo di guerra\" (Wartime songs), conceived by the Ministry of Popular Culture (Minculpop) and the Ente italiano per le audizioni radiofoniche (EIAR), the agency responsible for Italian radio and radio propaganda, to enhance the propaganda deployed by the regime to bolster the morale of troops and civilians during the Second World War. This repertoire, made up of new and already popular songs, was intended to replace other songs repeatedly broadcast by the EIAR, whose reception by the public was negative. Launched in the summer of 1942, the \"wartime songs\" were the subject of an intense promotional campaign. They appeared in the press, were broadcast at prime time on the radio, were distributed in the form of sheet music and were recorded, notably by Cetra, the EIAR's regime-controlled daughter label (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 122-136).", "subject": "10 inches shellac record; World War II; Military; Canzoni del tempo di guerra", "identifier": "DC 4013", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0728.html" }, { "title": "Lei… voi… tu", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Language", "identifier": "IT 904", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0729.html" }, { "title": "Italia, Italia (su motivi di X. Batt. Volontari della G.I.L. dell’Urbe)", "creator": "Cetra", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; World War II; Military; Nation", "identifier": "IT 904", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0730.html" }, { "title": "Discorso del 2 Ottobre 1935-XIII", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the first of four speeches in this series. It was delivered by Benito Mussolini on October 2, 1935 from the Piazza Venezia (Rome), to announce the military mobilization prior to the Italian invasion of Ethiopia.", "subject": "10 inches shellac record; Memorialization; War; Ethiopia; Empire; Mobilization", "identifier": "DS 002", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0731.html" }, { "title": "Discorso del 2 Ottobre 1935-XIII", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the first of four speeches in this series. It was delivered by Benito Mussolini on October 2, 1935 from the Piazza Venezia (Rome), to announce the military mobilization prior to the Italian invasion of Ethiopia.", "subject": "10 inches shellac record; Memorialization; War; Ethiopia; Empire; Mobilization", "identifier": "DS 002", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0732.html" }, { "title": "Discorso del 2 Ottobre 1935-XIII", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the first of four speeches in this series. It was delivered by Benito Mussolini on October 2, 1935 from the Piazza Venezia (Rome), to announce the military mobilization prior to the Italian invasion of Ethiopia.", "subject": "10 inches shellac record; Memorialization; War; Ethiopia; Empire; Mobilization", "identifier": "DS 003", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0733.html" }, { "title": "Discorso del 2 Ottobre 1935-XIII", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the first of four speeches in this series. It was delivered by Benito Mussolini on October 2, 1935 from the Piazza Venezia (Rome), to announce the military mobilization prior to the Italian invasion of Ethiopia.", "subject": "10 inches shellac record; Memorialization; War; Ethiopia; Empire; Mobilization", "identifier": "DS 003", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0734.html" }, { "title": "Discorso del 2 Ottobre 1935-XIII", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the first of four speeches in this series. It was delivered by Benito Mussolini on October 2, 1935 from the Piazza Venezia (Rome), to announce the military mobilization prior to the Italian invasion of Ethiopia.", "subject": "10 inches shellac record; Memorialization; War; Ethiopia; Empire; Mobilization", "identifier": "DS 004", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0735.html" }, { "title": "Discorso del 2 Ottobre 1935-XIII", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the first of four speeches in this series. It was delivered by Benito Mussolini on October 2, 1935 from the Piazza Venezia (Rome), to announce the military mobilization prior to the Italian invasion of Ethiopia.", "subject": "10 inches shellac record; Memorialization; War; Ethiopia; Empire; Mobilization", "identifier": "DS 004", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0736.html" }, { "title": "Discorso del 7 Dicembre 1935-XIV", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the second of four speeches in this series. It was delivered by Benito Mussolini on December 7, 1935, before Parliament, to challenge the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia. Mussolini also reaffirmed the legitimacy of the extremely violent and murderous Fascist colonial policy in East Africa. ", "subject": "10 inches shellac record; Memorialization; War; Ethiopia; Empire; Sanctions; League of Nations", "identifier": "DS 005", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0737.html" }, { "title": "Discorso del 7 Dicembre 1935-XIV", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the second of four speeches in this series. It was delivered by Benito Mussolini on December 7, 1935, before Parliament, to challenge the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia. Mussolini also reaffirmed the legitimacy of the extremely violent and murderous Fascist colonial policy in East Africa. ", "subject": "10 inches shellac record; Memorialization; War; Ethiopia; Empire; Sanctions; League of Nations", "identifier": "DS 005", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0738.html" }, { "title": "Discorso del 7 Dicembre 1935-XIV", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the second of four speeches in this series. It was delivered by Benito Mussolini on December 7, 1935, before Parliament, to challenge the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia. Mussolini also reaffirmed the legitimacy of the extremely violent and murderous Fascist colonial policy in East Africa. ", "subject": "10 inches shellac record; Memorialization; War; Ethiopia; Empire; Sanctions; League of Nations", "identifier": "DS 006", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0739.html" }, { "title": "Discorso del 7 Dicembre 1935-XIV", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the second of four speeches in this series. It was delivered by Benito Mussolini on December 7, 1935, before Parliament, to challenge the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia. Mussolini also reaffirmed the legitimacy of the extremely violent and murderous Fascist colonial policy in East Africa. ", "subject": "10 inches shellac record; Memorialization; War; Ethiopia; Empire; Sanctions; League of Nations", "identifier": "DS 006", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0740.html" }, { "title": "Discorso del 7 Dicembre 1935-XIV", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the second of four speeches in this series. It was delivered by Benito Mussolini on December 7, 1935, before Parliament, to challenge the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia. Mussolini also reaffirmed the legitimacy of the extremely violent and murderous Fascist colonial policy in East Africa. ", "subject": "10 inches shellac record; Memorialization; War; Ethiopia; Empire; Sanctions; League of Nations", "identifier": "DS 007", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0741.html" }, { "title": "Marcia Reale Italiana", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma.", "subject": "10 inches shellac record; Monarchy; Nation; Risorgimento", "identifier": "DS 007", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0742.html" }, { "title": "Discorso del 5 Maggio 1936-XIV", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the third of four speeches in this series. It was delivered by Benito Mussolini on May 5, 1936 from the Piazza Venezia (Rome) to announce Italy's military victory in Ethiopia.", "subject": "10 inches shellac record; Memorialization; War; Ethiopia; Empire; Victory", "identifier": "DS 008", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0743.html" }, { "title": "Discorso del 5 Maggio 1936-XIV", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the third of four speeches in this series. It was delivered by Benito Mussolini on May 5, 1936 from the Piazza Venezia (Rome) to announce Italy's military victory in Ethiopia.", "subject": "10 inches shellac record; Memorialization; War; Ethiopia; Empire; Victory", "identifier": "DS 008", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0744.html" }, { "title": "Discorso del 5 Maggio 1936-XIV", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the third of four speeches in this series. It was delivered by Benito Mussolini on May 5, 1936 from the Piazza Venezia (Rome) to announce Italy's military victory in Ethiopia.", "subject": "10 inches shellac record; Memorialization; War; Ethiopia; Empire; Victory", "identifier": "DS 009", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0745.html" }, { "title": "Discorso del 5 Maggio 1936-XIV", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the third of four speeches in this series. It was delivered by Benito Mussolini on May 5, 1936 from the Piazza Venezia (Rome) to announce Italy's military victory in Ethiopia.", "subject": "10 inches shellac record; Memorialization; War; Ethiopia; Empire; Victory", "identifier": "DS 009", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0746.html" }, { "title": "Discorso del 5 Maggio 1936-XIV", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the third of four speeches in this series. It was delivered by Benito Mussolini on May 5, 1936 from the Piazza Venezia (Rome) to announce Italy's military victory in Ethiopia.", "subject": "10 inches shellac record; Memorialization; War; Ethiopia; Empire; Victory", "identifier": "DS 010", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0747.html" }, { "title": "Giovinezza", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma.", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "DS 010", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0748.html" }, { "title": "Discorso del 9 Maggio 1936-XIV", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the last of four speeches in this series. It was delivered by Benito Mussolini on May 9, 1936 from the Piazza Venezia (Rome) to announce the foundation of the Italian Empire in East Africa.", "subject": "10 inches shellac record; Memorialization; Empire; Foundation", "identifier": "DS 011", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0749.html" }, { "title": "Discorso del 9 Maggio 1936-XIV", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the last of four speeches in this series. It was delivered by Benito Mussolini on May 9, 1936 from the Piazza Venezia (Rome) to announce the foundation of the Italian Empire in East Africa.", "subject": "10 inches shellac record; Memorialization; Empire; Foundation", "identifier": "DS 011", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0750.html" }, { "title": "Discorso del 9 Maggio 1936-XIV", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the last of four speeches in this series. It was delivered by Benito Mussolini on May 9, 1936 from the Piazza Venezia (Rome) to announce the foundation of the Italian Empire in East Africa.", "subject": "10 inches shellac record; Memorialization; Empire; Foundation", "identifier": "DS 012", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0751.html" }, { "title": "Discorso del 9 Maggio 1936-XIV", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the last of four speeches in this series. It was delivered by Benito Mussolini on May 9, 1936 from the Piazza Venezia (Rome) to announce the foundation of the Italian Empire in East Africa.", "subject": "10 inches shellac record; Memorialization; Empire; Foundation", "identifier": "DS 012", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0752.html" }, { "title": "Discorso del 9 Maggio 1936-XIV", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma. This recording is the last of four speeches in this series. It was delivered by Benito Mussolini on May 9, 1936 from the Piazza Venezia (Rome) to announce the foundation of the Italian Empire in East Africa.", "subject": "10 inches shellac record; Memorialization; Empire; Foundation", "identifier": "DS 013", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0753.html" }, { "title": "Inno a Roma", "creator": "Discoteca di Stato", "date": "1937", "description": "This recording belongs to a series of 12 records of speeches delivered by Benito Mussolini in public or before Parliament between October 1935 and May 1936, i.e. between the start of the second Italo-Ethiopian conflict initiated by Italy and the founding of the Italian empire in East Africa (Africa Orientale Italiana). The conception and production of this series involved several Fascist institutions. Recording was carried out by EIAR (Ente Italiano per le Audizione Radiofoniche), the radio production agency. The records were produced by Cetra, the EIAR's record label. Publishing was handled by Discoteca di Stato, the Fascist institution dedicated to popularizing phonography, preserving and disseminating the folklore of Italy's regions and the voices of great national figures. In the advertisement introducing it in Radiocorriere (the EIAR's program journal) of March 14, 1937, it is said that this series brings together the four speeches that \"prepared, accompanied and concluded\" the \"conquest of the Empire\". On the last side of the last record of three of these speeches are Giovinezza, Marcia Reale and Inno a Roma.", "subject": "10 inches shellac record; Romanità; Town", "identifier": "DS 013", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Radiocorriere, March 14, 1937, p. 5", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0754.html" }, { "title": "Figli dell'Impero (Balilla - Giovinezza, Giovinezza)", "creator": "Cetra", "date": "1941", "description": "This recording belongs to a record presented as \"educational\", probably used in schools, and presented in its producer's catalog in a section dedicated to records for teaching by singing.", "subject": "10 inches shellac record; Childhood; Education; Nation; Mobilisation; War; Partito Nazionale Fascista; Empire; Boys; Opera Nazionale Balilla", "identifier": "CR 2", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0755.html" }, { "title": "Figli dell'Impero (Duce, Duce - Canto dei volontari - In marcia - La Bandiera)", "creator": "Cetra", "date": "1941", "description": "This recording belongs to a record presented as \"educational\", probably used in schools, and presented in its producer's catalog in a section dedicated to records for teaching by singing.", "subject": "10 inches shellac record; Childhood; Education; Nation; Mobilisation; War; Partito Nazionale Fascista; Empire; Boys; Opera Nazionale Balilla", "identifier": "CR 2", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0756.html" }, { "title": "Incantesimo (As aman o syr'i zie) canzone popolare di Koritza)", "creator": "Cetra", "date": "1941", "description": "These folk songs, arranged by Albanian pianist and composer Pjetër Dungu, were released by Cetra, a record company belonging to the sound propaganda apparatus of the Fascist regime, as Albania was annexed by Italy in 1939 to satisfy its expansionist ambitions in Europe, enhance its prestige following the demonstration of power made by its German ally through the Anschluss the previous year, and appropriate the country's resources.", "subject": "10 inches shellac record; War; Albania; Annexation; Folklore", "identifier": "IT 1067", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0757.html" }, { "title": "Sono innamorato di te (Dashtnuez t'u lana); E' giunta primavera (Te gizojm se erdh Prendvera) (Due canzoni popolari di Scutari)", "creator": "Cetra", "date": "1941", "description": "These folk songs, arranged by Albanian pianist and composer Pjetër Dungu, were released by Cetra, a record company belonging to the sound propaganda apparatus of the Fascist regime, as Albania was annexed by Italy in 1939 to satisfy its expansionist ambitions in Europe, enhance its prestige following the demonstration of power made by its German ally through the Anschluss the previous year, and appropriate the country's resources.", "subject": "10 inches shellac record; War; Albania; Annexation; Folklore", "identifier": "IT 1067", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0758.html" }, { "title": "Visione (Marshallah bukuris sate); Erano due cognate (Ishin dy Kunata) (Canzoni popolari di Scutari)", "creator": "Cetra", "date": "1941", "description": "These folk songs, arranged by Albanian pianist and composer Pjetër Dungu, were released by Cetra, a record company belonging to the sound propaganda apparatus of the Fascist regime, as Albania was annexed by Italy in 1939 to satisfy its expansionist ambitions in Europe, enhance its prestige following the demonstration of power made by its German ally through the Anschluss the previous year, and appropriate the country's resources.", "subject": "10 inches shellac record; War; Albania; Annexation; Folklore", "identifier": "IT 1068", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0759.html" }, { "title": "Sono infelice lontano da te (Dashnija Kioft mallkuc); Igarofani di Scutari (Karajfilat gi ka Shkvdra) (Canzoni popolari di Scutari)", "creator": "Cetra", "date": "1941", "description": "These folk songs, arranged by Albanian pianist and composer Pjetër Dungu, were released by Cetra, a record company belonging to the sound propaganda apparatus of the Fascist regime, as Albania was annexed by Italy in 1939 to satisfy its expansionist ambitions in Europe, enhance its prestige following the demonstration of power made by its German ally through the Anschluss the previous year, and appropriate the country's resources.", "subject": "10 inches shellac record; War; Albania; Annexation; Folklore", "identifier": "IT 1068", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Cetra, Catalogo dischi, 1942", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0760.html" }, { "title": "La leggenda del Piave", "creator": "Columbia", "date": "1923 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "D 781", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0761.html" }, { "title": "Giovinezza ", "creator": "Columbia", "date": "1923 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "D 781", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0762.html" }, { "title": "Giovinezza ", "creator": "Columbia", "date": "1929 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "D 5774", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0763.html" }, { "title": "Marcia reale italiana", "creator": "Columbia", "date": "1929 ?", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Nation; Monarchy; Risorgimento", "identifier": "D 5774", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0764.html" }, { "title": "Giovinezza", "creator": "Columbia", "date": "1926 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "D 5354", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0765.html" }, { "title": "La leggenda del Piave", "creator": "Columbia", "date": "1926 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "D 5354", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0766.html" }, { "title": "Inno degli Universitari Fascisti ", "creator": "Columbia", "date": "1929 ?", "description": "This recording represents fascist university and student organizations.", "subject": "10 inches shellac record; Youth; Institution; Studenti Universitari Fascisti", "identifier": "D 5770", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0767.html" }, { "title": "Ventun aprile (Inno dei lavoratori italiani)", "creator": "Columbia", "date": "1929 ?", "subject": "10 inches shellac record; Work", "identifier": "D 5770", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0768.html" }, { "title": "Bimbe d'Italia", "creator": "Columbia", "date": "1929 ?", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "12 inches shellac record; Childhood; Education; Institution; Girls; Piccole Italiane; Opera Nazionale Balilla", "identifier": "CQX 16450", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0769.html" }, { "title": "Marcia nuziale (In onore delle Auguste nozze di S.A.R. il Principe di Piemonte)", "creator": "Columbia", "date": "1929 ?", "subject": "12 inches shellac record; Nation; Monarchy; Risorgimento", "identifier": "CQX 16450", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0770.html" }, { "title": "La Leonesa (inno della 15a Legione della M.V.S.N.)", "creator": "Columbia", "date": "1929 ?", "subject": "10 inches shellac record; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "D 5942", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0771.html" }, { "title": "Inno alle truppe di montagna", "creator": "Columbia", "date": "1929 ?", "subject": "10 inches shellac record; Military; Institution; Truppe da Montagna", "identifier": "D 5942", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0772.html" }, { "title": "Il canto del lavoro", "creator": "Columbia", "date": "1929 ?", "description": "This song is a Fascist celebration of work and its contribution to the homeland. Composed by Pietro Mascagni, one of the most popular living Italian composers, it is introduced by a propaganda text in the catalog of the record company La Voce del Padrone dated October 1, 1929 (p. 220): \"The new Italy, the Italy that marches confidently towards the future under the aegis of the Fascio Littorio, symbol of imperishable Romanity, today has its ‘Canto del Lavoro’, a veritable hymn of joy, glorifying the conquests of hard-won labor in the workshops and among the clods of mother earth; the idea of ‘Patria’ (Homeland) reigns supreme and is expressed with accents of the purest enthusiasm\". Edmondo Rossoni and Libero Bovio wrote this vibrant, passionate poem, and Pietro Mascagni set it to music with the irresistible élan of his fiery imagination. Conceived by Rossoni in the bitterness of his pre-war exile, \"Il Canto del Lavoro\" powerfully expresses the sorrows and dazzling joys of those who live by their work. The performances, entrusted to La Scala choristers and orchestra teachers under the direction of Mo. Mascagni himself, and the Corpo Musicale della R. Marina Italiana (Mo. Aghemo), were nothing short of impressive.\"", "subject": "10 inches shellac record; Work", "identifier": "D 5781", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0773.html" }, { "title": "Marcia reale Italiana", "creator": "Columbia", "date": "1929 ?", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Nation; Risorgimento", "identifier": "D 5781", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0774.html" }, { "title": "Giovinezza", "creator": "Columbia", "date": "1926 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "D 5353", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0775.html" }, { "title": "Le aquile di Roma (Inno imperiale)", "creator": "Columbia", "date": "1926 ?", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Romanità; Empire", "identifier": "D 5353", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0776.html" }, { "title": "Giovinezza", "creator": "Columbia", "date": "1926 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "D 5327", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0777.html" }, { "title": "Inno della Somalia italiana", "creator": "Columbia", "date": "1926 ?", "description": "The colony of Italian Somalia was created in 1889 and maintained until 1941, after being integrated into Italian East Africa, created in 1936 after Ethiopia's military defeat by Fascist Italy. It imposed a regime of discrimination, forced labor and educational deprivation on the indigenous population. ", "subject": "10 inches shellac record; Colonisation; Italian Somalia", "identifier": "D 5327", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0778.html" }, { "title": "Le aquile di Roma (Inno imperiale)", "creator": "Columbia", "date": "1926 ?", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Romanità; Empire", "identifier": "D 5352", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0779.html" }, { "title": "Inno della Somalia italiana", "creator": "Columbia", "date": "1926 ?", "description": "The colony of Italian Somalia was created in 1889 and maintained until 1941, after being integrated into Italian East Africa, created in 1936 after Ethiopia's military defeat by Fascist Italy. It imposed a regime of discrimination, forced labor and educational deprivation on the indigenous population. ", "subject": "10 inches shellac record; Colonisation; Italian Somalia", "identifier": "D 5352", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0780.html" }, { "title": "Inno all'ala", "creator": "Columbia", "date": "1929 ?", "subject": "10 inches shellac record; Partito Nazionale Fascista", "identifier": "D 5793", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0781.html" }, { "title": "La canzone delle canzoni", "creator": "Columbia", "date": "1929 ?", "subject": "10 inches shellac record; Light Music", "identifier": "D 5793", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0782.html" }, { "title": "La canzone del grappa", "creator": "Columbia", "date": "1929 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "D 5015", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0783.html" }, { "title": "All'armi !", "creator": "Columbia", "date": "1929 ?", "description": "The song \"All'armi\" was used as the hymn of the National Fascist Party when it was founded in November 1921. It glorifies the extreme violence carried out by the squadrists against the Fascists' political opponents, particularly the Communists, at the turn of the 1920s. The song Giovinezza, also used as the new party's anthem, finally became its official hymn in 1924, with a new lyrics by Salvatore Gotta.", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence", "identifier": "D 5015", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0784.html" }, { "title": "Inno dei Balilla", "creator": "Columbia", "date": "1929 ?", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "D 5041", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0785.html" }, { "title": "Giovinezza ", "creator": "Columbia", "date": "1929 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "D 5041", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0786.html" }, { "title": "Inno dei Balilla", "creator": "Columbia", "date": "1925", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604). The record on which this is recorded belongs to a collection of small-sized records. It is intended for children. ", "subject": "6 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "source": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "identifier": "P.M. 10", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0787.html" }, { "title": "All'armi !", "creator": "Columbia", "date": "1925", "description": "The song \"All'armi\" was used as the hymn of the National Fascist Party when it was founded in November 1921. It glorifies the extreme violence carried out by the squadrists against the Fascists' political opponents, particularly the Communists, at the turn of the 1920s. The song Giovinezza, also used as the new party's anthem, finally became its official hymn in 1924, with a new lyrics by Salvatore Gotta. The record on which this is recorded belongs to a collection of small-sized records. It is intended for children. ", "subject": "6 inches shellac record; Childhood; Education; Violence; Partito Nazionale Fascista; Institution", "source": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "identifier": "P.M. 10", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0788.html" }, { "title": "Giovinezza", "creator": "Columbia", "date": "1928", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604). The record on which this is recorded belongs to a collection of small-sized records. It is intended for children. ", "subject": "6 inches shellac record; Childhood; Education; Partito Nazionale Fascista; Institution; Youth", "source": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "identifier": "P.M. 51", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0789.html" }, { "title": "La leggenda del Piave", "creator": "Columbia", "date": "1928", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630). The record on which this is recorded belongs to a collection of small-sized records. It is intended for children. ", "subject": "6 inches shellac record; Childhood; Education; World War I; Remembrance", "source": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "identifier": "P.M. 51", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0790.html" }, { "title": "La canzone d'Italia", "creator": "Columbia", "date": "1928", "description": "The record on which this is recorded belongs to a collection of small-sized records. It is intended for children. ", "subject": "6 inches shellac record; Childhood; Education; Nation", "source": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "identifier": "P.M. 56", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0791.html" }, { "title": "Giovinezza", "creator": "Columbia", "date": "1928", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604). The record on which this is recorded belongs to a collection of small-sized records. It is intended for children. ", "subject": "6 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "source": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "identifier": "P.M. 56", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0792.html" }, { "title": "Inno al fante", "creator": "Columbia", "date": "1931", "subject": "10 inches shellac record; Military", "identifier": "CQ 600", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0793.html" }, { "title": "Ala imperiale", "creator": "Columbia", "date": "1931", "subject": "10 inches shellac record; Empire", "identifier": "CQ 600", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0794.html" }, { "title": "Bimbe d'Italia", "creator": "Columbia", "date": "1929 ?", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Girls; Piccole Italiane; Opera Nazionale Balilla", "identifier": "CQ 151", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0795.html" }, { "title": "inno ufficiale dei balilla", "creator": "Columbia", "date": "1929 ?", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Opera Nazionale Balilla", "identifier": "CQ 151", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0796.html" }, { "title": "Battaglioni camicie nere", "creator": "Columbia", "date": "1929 ?", "description": "This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "CQ 152", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0797.html" }, { "title": "Inno ufficiale degli studenti universitari fascisti", "creator": "Columbia", "date": "1929 ?", "description": "This recording represents fascist university and student organizations.", "subject": "10 inches shellac record; Youth; Institution; Studenti Universitari Fascisti", "identifier": "CQ 152", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0798.html" }, { "title": "La ritirata (Marcia ufficiale della R. Marina Italiana)", "creator": "Columbia", "date": "1929 ?", "description": "A result of the Risorgimento (the process of Italian unification), the Regia Marina Italiana (Italian Royal Navy) was the military navy of the Kingdom of Italy between 1961 and 1946. On record, its anthem, \"La Ritirata\", is often paired with Fascist hymns (e.g. \"Giovinezza\" or \"Rusticanella\").", "subject": "10 inches shellac record; Military; Navy; Institution; Regia Marina Italiana; Risorgimento", "identifier": "CQ 153", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0799.html" }, { "title": "Passano i Balilla", "creator": "Columbia", "date": "1929 ?", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "CQ 153", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0800.html" }, { "title": "Giovinezza", "creator": "Columbia", "date": "1929 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "CQ 154", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0801.html" }, { "title": "La leggenda del Piave", "creator": "Columbia", "date": "1929 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "CQ 154", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0802.html" }, { "title": "Anima fascista", "creator": "Columbia", "date": "1932", "subject": "10 inches shellac record; Partito Nazionale Fascista", "identifier": "CQ 912", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0803.html" }, { "title": "Aquila sabauda", "creator": "Columbia", "date": "1932", "subject": "10 inches shellac record; Military", "identifier": "CQ 912", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0804.html" }, { "title": "La ritirata (Marcia ufficiale della Regia Marina Italiana)", "creator": "Columbia", "date": "1932", "description": "A result of the Risorgimento (the process of Italian unification), the Regia Marina Italiana (Italian Royal Navy) was the military navy of the Kingdom of Italy between 1961 and 1946. On record, its anthem, \"La Ritirata\", is often paired with Fascist hymns (e.g. \"Giovinezza\" or \"Rusticanella\").", "subject": "10 inches shellac record; Military; Navy; Institution; Regia Marina Italiana; Risorgimento", "identifier": "CQ 676", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0805.html" }, { "title": "Marocco", "creator": "Columbia", "date": "1932", "subject": "10 inches shellac record; Military", "identifier": "CQ 676", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0806.html" }, { "title": "Valida gens", "creator": "Columbia", "date": "1931", "subject": "10 inches shellac record; Military", "identifier": "CQ 599", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0807.html" }, { "title": "Alala'", "creator": "Columbia", "date": "1931", "subject": "10 inches shellac record; Military; D’Annunzio; Partito Nazionale Fascista", "identifier": "CQ 599", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0808.html" }, { "title": "La ritirata (Marcia ufficiale della R. Marina Italiana)", "creator": "Columbia", "date": "1932 ?", "description": "A result of the Risorgimento (the process of Italian unification), the Regia Marina Italiana (Italian Royal Navy) was the military navy of the Kingdom of Italy between 1961 and 1946. On record, its anthem, \"La Ritirata\", is often paired with Fascist hymns (e.g. \"Giovinezza\" or \"Rusticanella\").", "subject": "8 inches shellac record; Military; Navy; Institution; Regia Marina Italiana; Risorgimento", "identifier": "G.Q.U. 37", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0809.html" }, { "title": "Marocco", "creator": "Columbia", "date": "1932 ?", "subject": "8 inches shellac record; Military", "identifier": "G.Q.U. 37", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0810.html" }, { "title": "Alala'", "creator": "Columbia", "date": "1931", "subject": "8 inches shellac record; Military; Gabriele D’Annunzio; Partito Nazionale Fascista", "identifier": "G.Q.U. 18", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0811.html" }, { "title": "Valida gens", "creator": "Columbia", "date": "1931", "subject": "8 inches shellac record; Military", "identifier": "G.Q.U. 18", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0812.html" }, { "title": "Giovinezza", "creator": "Columbia", "date": "1934 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "DQ 739", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, June-December 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0813.html" }, { "title": "Marcia reale italiana", "creator": "Columbia", "date": "1934 ?", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Nation; Monarchy; Risorgimento", "identifier": "DQ 739", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, June-December 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0814.html" }, { "title": "Inno di Roma", "creator": "Columbia", "date": "1933 ?", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "identifier": "DQ 576", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0815.html" }, { "title": "Littoria", "creator": "Columbia", "date": "1933 ?", "description": "Littoria (now Latina) is a city built by the Fascist regime from June 1932, and inaugurated by Benito Mussolini in December 1932. It is located in the former Pontine marshes south of Rome, which Mussolini had drained in 1928 as part of his \"Battle of the Grain\" (Battaglia del grano) agricultural production policy. Built in a territory that had been \" reclaimed ‘ (Bonifica), i.e. transformed to achieve a policy objective, Littoria was used by Fascist propaganda as an example of the success of one of the regime's ’great works\".", "subject": "10 inches shellac record; Littoria; Town", "identifier": "DQ 576", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0816.html" }, { "title": "Inno a Roma", "creator": "Columbia", "date": "1933 ?", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "identifier": "DQ 178", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0817.html" }, { "title": "Gloria ai cavalieri di Malta", "creator": "Columbia", "date": "1933 ?", "subject": "10 inches shellac record; Military", "identifier": "DQ 178", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0818.html" }, { "title": "L'Urbe ", "creator": "Columbia", "date": "1934 ?", "subject": "10 inches shellac record", "identifier": "OQ 2086; CQX 2086", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0819.html" }, { "title": "Inno trionfale al Duce", "creator": "Columbia", "date": "1934 ?", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo", "identifier": "OQ 2086; CQX 2086", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0820.html" }, { "title": "Inno delle scuole al Duce", "creator": "Columbia", "date": "1933 ?", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Childhood; Education; Mussolinismo", "identifier": "CQ 1293", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0821.html" }, { "title": "Dopolavoro", "creator": "Columbia", "date": "1933 ?", "description": "This recording represents the Opera Nazionale Dopolavoro (OND) or participates in promoting the leisure policy it implements. Created in 1925 by the regime, the OND was aimed at workers, whose unions it intended to replace (the site of an intolerable socialist policy opposed with great violence) and to organize leisure time (\"Dopolavoro\"). By bringing together several thousand workers' associations engaged in a wide range of activities, and directing them in line with Fascist policies, the OND enabled the regime to put down roots in the world of work, organize a significant part of Italians' leisure time by mixing politics and culture, and invest a little more of their private lives. In this way, it contributed to the realization of Fascist totalitarianism (see Victoria De Grazia, \"Dopolavoro\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, pp. 443-447).", "subject": "10 inches shellac record; Institution; Leisure; Opera Nazionale Dopolavoro", "identifier": "CQ 1293", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0822.html" }, { "title": "Inno dei Balilla", "creator": "Columbia", "date": "1933 ?", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271). The record on which this is recorded belongs to a collection of small-sized records. It is intended for children. ", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "DQ 114", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0823.html" }, { "title": "Giovinezza", "creator": "Columbia", "date": "1933 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "DQ 114", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0824.html" }, { "title": "Inno ufficiale dei giovanni fascisti", "creator": "Columbia", "date": "1933 ?", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "10 inches shellac record; Childhood; Education; Institution; Giovani Fascisti; Youth", "identifier": "DQ 93", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0825.html" }, { "title": "Inno delle scuole al Duce", "creator": "Columbia", "date": "1933 ?", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Childhood; Education; Mussolinismo", "identifier": "DQ 93", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0826.html" }, { "title": "Giovinezza", "creator": "Columbia", "date": "1934 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "DQ 639", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, June-December 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0827.html" }, { "title": "La leggenda del Piave", "creator": "Columbia", "date": "1934 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "DQ 639", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, June-December 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0828.html" }, { "title": "Il canto del lavoro", "creator": "Columbia", "date": "1934 ?", "description": "This song is a Fascist celebration of work and its contribution to the homeland. Composed by Pietro Mascagni, one of the most popular living Italian composers, it is introduced by a propaganda text in the catalog of the record company La Voce del Padrone dated October 1, 1929 (p. 220): \"The new Italy, the Italy that marches confidently towards the future under the aegis of the Fascio Littorio, symbol of imperishable Romanity, today has its ‘Canto del Lavoro’, a veritable hymn of joy, glorifying the conquests of hard-won labor in the workshops and among the clods of mother earth; the idea of ‘Patria’ (Homeland) reigns supreme and is expressed with accents of the purest enthusiasm\". Edmondo Rossoni and Libero Bovio wrote this vibrant, passionate poem, and Pietro Mascagni set it to music with the irresistible élan of his fiery imagination. Conceived by Rossoni in the bitterness of his pre-war exile, \"Il Canto del Lavoro\" powerfully expresses the sorrows and dazzling joys of those who live by their work. The performances, entrusted to La Scala choristers and orchestra teachers under the direction of Mo. Mascagni himself, and the Corpo Musicale della R. Marina Italiana (Mo. Aghemo), were nothing short of impressive.\"", "subject": "10 inches shellac record; Work", "identifier": "DQ 726", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, June-December 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0829.html" }, { "title": "Marcia reale italiana", "creator": "Columbia", "date": "1934 ?", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Nation; Risorgimento", "identifier": "DQ 726", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, June-December 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0830.html" }, { "title": "Giovinezza", "creator": "Columbia", "date": "1934 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "DQ 613", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi \" Columbia\", December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0831.html" }, { "title": "Le aquile di Roma (Inno imperiale)", "creator": "Columbia", "date": "1934 ?", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Romanità; Empire", "identifier": "DQ 613", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi \" Columbia\", December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0832.html" }, { "title": "La canzone del grappa ", "creator": "Columbia", "date": "1934 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "DQ 564", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi \" Columbia\", December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0833.html" }, { "title": "All'armi", "creator": "Columbia", "date": "1934 ?", "description": "The song \"All'armi\" was used as the hymn of the National Fascist Party when it was founded in November 1921. It glorifies the extreme violence carried out by the squadrists against the Fascists' political opponents, particularly the Communists, at the turn of the 1920s. The song Giovinezza, also used as the new party's anthem, finally became its official hymn in 1924, with a new lyrics by Salvatore Gotta.", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence", "identifier": "DQ 564", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi \" Columbia\", December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0834.html" }, { "title": "La ritirata (Marcia ufficiale della Regia Marina Italiana)", "creator": "Columbia", "date": "1934 ?", "description": "A result of the Risorgimento (the process of Italian unification), the Regia Marina Italiana (Italian Royal Navy) was the military navy of the Kingdom of Italy between 1961 and 1946. On record, its anthem, \"La Ritirata\", is often paired with Fascist hymns (e.g. \"Giovinezza\" or \"Rusticanella\").", "subject": "10 inches shellac record; Military; Institution; Regia Marina Italiana; Risorgimento", "identifier": "DQ 645", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, June-December 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0835.html" }, { "title": "Marocco", "creator": "Columbia", "date": "1934 ?", "subject": "10 inches shellac record; Military", "identifier": "DQ 645", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, June-December 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0836.html" }, { "title": "La ritirata (Marcia ufficiale della Regia Marina Italiana)", "creator": "Columbia", "date": "1934 ?", "description": "A result of the Risorgimento (the process of Italian unification), the Regia Marina Italiana (Italian Royal Navy) was the military navy of the Kingdom of Italy between 1961 and 1946. On record, its anthem, \"La Ritirata\", is often paired with Fascist hymns (e.g. \"Giovinezza\" or \"Rusticanella\").", "subject": "10 inches shellac record; Military; Institution; Regia Marina Italiana; Risorgimento", "identifier": "DQ 788", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, June-December 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0837.html" }, { "title": "Passano i Balilla", "creator": "Columbia", "date": "1934 ?", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "DQ 788", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, June-December 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0838.html" }, { "title": "Inno dei Balilla", "creator": "Columbia", "date": "1933", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271). The record on which this is recorded belongs to a collection of small-sized records. It is intended for children. ", "subject": "6 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "source": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "identifier": "P.M. 144", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi \" Columbia\", December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0839.html" }, { "title": "Giovinezza ", "creator": "Columbia", "date": "1933", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604). The record on which this is recorded belongs to a collection of small-sized records. It is intended for children. ", "subject": "6 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "source": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "identifier": "P.M. 144", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi \" Columbia\", December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0840.html" }, { "title": "Marcia d'ordinanza del corpo delle Reale Guardia di Finanza", "creator": "Columbia", "date": "1931", "description": "This record represents the Regia Guardia di Finanza (Royal Guard of Finance). Created in 1862 to control customs in the newly-created Kingdom of Italy during the Risorgimento (the process of Italian unification), its 12,000 men played a full part in the First World War. Shortly after coming to power, the Fascist regime transformed it from a customs police force into a tax investigation police force.", "subject": "10 inches shellac record; Institution; Regia Guardia di Finanza; Military; Risorgimento", "identifier": "CQ 401", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0841.html" }, { "title": "Inno del Finanziere", "creator": "Columbia", "date": "1931", "description": "This record represents the Regia Guardia di Finanza (Royal Guard of Finance). Created in 1862 to control customs in the newly-created Kingdom of Italy during the Risorgimento (the process of Italian unification), its 12,000 men played a full part in the First World War. Shortly after coming to power, the Fascist regime transformed it from a customs police force into a tax investigation police force.", "subject": "10 inches shellac record; Institution; Regia Guardia di Finanza; Military; Risorgimento", "identifier": "CQ 401", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0842.html" }, { "title": "Ho scritto al Duce", "creator": "Columbia", "date": "1932 ?", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo", "identifier": "CQ 787", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0843.html" }, { "title": "Gente d'o Mare", "creator": "Columbia", "date": "1932 ?", "subject": "10 inches shellac record; Navy", "identifier": "CQ 787", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0844.html" }, { "title": "Giovinezza ", "creator": "Columbia", "date": "1932 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "DQ 594", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi \" Columbia\", December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0845.html" }, { "title": "Marcia reale italiana", "creator": "Columbia", "date": "1932 ?", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Nation; Risorgimento", "identifier": "DQ 594", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi \" Columbia\", December 1933-July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0846.html" }, { "title": "Marcia d'ordinanza del corpo delle Reale Guardia di Finanza", "creator": "Columbia", "date": "1931", "description": "This record represents the Regia Guardia di Finanza (Royal Guard of Finance). Created in 1862 to control customs in the newly-created Kingdom of Italy during the Risorgimento (the process of Italian unification), its 12,000 men played a full part in the First World War. Shortly after coming to power, the Fascist regime transformed it from a customs police force into a tax investigation police force.", "subject": "10 inches shellac record; Institution; Regia Guardia di Finanza; Military; Risorgimento", "identifier": "CQ 410", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0847.html" }, { "title": "Inno del Finanziere", "creator": "Columbia", "date": "1931", "description": "This record represents the Regia Guardia di Finanza (Royal Guard of Finance). Created in 1862 to control customs in the newly-created Kingdom of Italy during the Risorgimento (the process of Italian unification), its 12,000 men played a full part in the First World War. Shortly after coming to power, the Fascist regime transformed it from a customs police force into a tax investigation police force.", "subject": "10 inches shellac record; Institution; Regia Guardia di Finanza; Military; Risorgimento", "identifier": "CQ 410", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0848.html" }, { "title": "Erminia", "creator": "Columbia", "date": "1931", "subject": "10 inches shellac record; Military", "identifier": "CQ 327", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0849.html" }, { "title": "Marcia africana", "creator": "Columbia", "date": "1931", "subject": "10 inches shellac record; Military; Colonisation", "identifier": "CQ 327", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0850.html" }, { "title": "La ninna nanna dei Balilla", "creator": "Columbia", "date": "1932 ?", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "DQ 794", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0851.html" }, { "title": "Stornelli romani (d'amore)", "creator": "Columbia", "date": "1932 ?", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Romanità", "identifier": "DQ 794", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0852.html" }, { "title": "Sonate mandolini", "creator": "Columbia", "date": "1934", "subject": "10 inches shellac record; Light Music", "identifier": "DQ 986", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0853.html" }, { "title": "Balilla eroico", "creator": "Columbia", "date": "1934", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Institution; Boys; Opera Nazionale Balilla; War; Heroism", "identifier": "DQ 986", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0854.html" }, { "title": "Marcia reale italiana", "creator": "Columbia", "date": "1935", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Nation; Risorgimento", "identifier": "DQ 1311", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo II. semestre luglio dicembre, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0855.html" }, { "title": "Giovinezza", "creator": "Columbia", "date": "1935", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "DQ 1311", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo II. semestre luglio dicembre, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0856.html" }, { "title": "Bimbe d'Italia", "creator": "Columbia", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Girls; Piccole Italiane; Opera Nazionale Balilla", "identifier": "DQ 1255", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo II. semestre luglio dicembre, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0857.html" }, { "title": "Inno dei Giovani fascisti", "creator": "Columbia", "date": "1935", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "10 inches shellac record; Youth; Institution; Giovani Fascisti", "identifier": "DQ 1255", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo II. semestre luglio dicembre, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0858.html" }, { "title": "Canzone marinara", "creator": "Columbia", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Navy; Institution; Boys; Balilla Marinaretti; Opera Nazionale Balilla", "identifier": "DQ 1419", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo II. semestre luglio dicembre, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0859.html" }, { "title": "Canto della montagna", "creator": "Columbia", "date": "1935", "subject": "10 inches shellac record; Childhood; Education; Military; Institution; Alpini", "identifier": "DQ 1419", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo II. semestre luglio dicembre, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0860.html" }, { "title": "Dux", "creator": "Columbia", "date": "1935", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo; Childhood; Education ", "identifier": "DQ 1420", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo II. semestre luglio dicembre, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0861.html" }, { "title": "Ala imperiale", "creator": "Columbia", "date": "1935", "subject": "10 inches shellac record; Empire; Childhood; Education", "identifier": "DQ 1420", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo II. semestre luglio dicembre, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0862.html" }, { "title": "Inno dei Balilla Moschettieri", "creator": "Columbia", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla; Military; Balilla Moschettieri", "identifier": "DQ 1421", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo II. semestre luglio dicembre, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0863.html" }, { "title": "La preghiera della patria (di S.A.R. Emanuele Filiberto Duca d'Aosta Musica del M° Giuseppe Pettinato)", "creator": "Columbia", "date": "1935", "subject": "10 inches shellac record; Childhood; Education; Girls; Monarchy; Nation; Risorgimento", "identifier": "DQ 1421", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo II. semestre luglio dicembre, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0864.html" }, { "title": "Preghiera dei Bimbi d'Italia (per la salvezza del Duce)", "creator": "Columbia", "date": "1934", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271). Singer Gino Pastori is alleged to be 12 at the time of this recording. Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo; Childhood; Education; Girls; Piccole Italiane; Boys; Opera Nazionale Balilla ", "identifier": "DQ 776", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0865.html" }, { "title": "Freccia d'oro", "creator": "Columbia", "date": "1934", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271). Singer Gino Pastori is alleged to be 12 at the time of this recording.", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "DQ 776", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0866.html" }, { "title": "Inno preghiera delle giovani e piccole italiane", "creator": "Columbia", "date": "1934", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Girls; Institution; Piccole Italiane; Opera Nazionale Balilla", "identifier": "DQ 777", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0867.html" }, { "title": "Inno per la festa degli alberi", "creator": "Columbia", "date": "1934", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Girls; Institution; Piccole Italiane; Opera Nazionale Balilla; Remembrance; Arnaldo Mussolini", "identifier": "DQ 777", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0868.html" }, { "title": "Leggenda dei carabinieri", "creator": "Columbia", "date": "1934", "description": "Singer Gino Pastori is alleged to be 12 at the time of this recording.", "subject": "10 inches shellac record; Institution; Carabinieri; Childhood; Education; Boys; Opera Nazionale Balilla", "identifier": "DQ 778", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0869.html" }, { "title": "Duetto di bum e la reginetta (dall’ operetta \"Il talismano di Pin\")", "creator": "Columbia", "date": "1934", "description": "Singer Gino Pastori is alleged to be 12 at the time of this recording.", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "DQ 778", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0870.html" }, { "title": "Inno dei Giovani fascisti", "creator": "Columbia", "date": "1935", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "8 inches shellac record; Youth; Institution; Giovani Fascisti", "identifier": "G.Q.U. 97", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo II. semestre luglio dicembre, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0871.html" }, { "title": "La leggenda del Piave", "creator": "Columbia", "date": "1935", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "8 inches shellac record; World War I; Remembrance", "identifier": "G.Q.U. 97", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo II. semestre luglio dicembre, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0872.html" }, { "title": "Inno dei Balilla", "creator": "Columbia", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "8 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "G.Q.U. 98", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo II. semestre luglio dicembre, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0873.html" }, { "title": "Bimbe d'Italia", "creator": "Columbia", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "8 inches shellac record; Childhood; Education; Institution; Girls; Piccole Italiane; Opera Nazionale Balilla", "identifier": "G.Q.U. 98", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo II. semestre luglio dicembre, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0874.html" }, { "title": "Stornelli neri", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "8 inches shellac record; Ethiopia; Colonisation; Satire; Haile Selassie", "identifier": "G.Q.U. 145", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0875.html" }, { "title": "Stornellata abissina", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "8 inches shellac record; Ethiopia; Colonisation; Satire; Haile Selassie", "identifier": "G.Q.U. 145", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0876.html" }, { "title": "Ah! Cha Cha", "creator": "Columbia", "date": "1936", "subject": "8 inches shellac record; Light Music", "identifier": "G.Q.U. 129", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0877.html" }, { "title": "La canzone dell'Africa", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "8 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "identifier": "G.Q.U. 129", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0878.html" }, { "title": "Ti saluto !… (…vado in Abissinia)", "creator": "Columbia", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was launched a few months before the start of the war and can be considered as propaganda material designed to stimulate the consent and mobilisation of the Italian people.", "subject": "8 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "identifier": "G.Q.U. 127", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0879.html" }, { "title": "Autunno d'amore", "creator": "Columbia", "date": "1935", "subject": "8 inches shellac record; Light Music; Love", "identifier": "G.Q.U. 127", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0880.html" }, { "title": "Canzone marinara", "creator": "Columbia", "date": "1936", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "8 inches shellac record; Childhood; Education; Navy; Institution; Boys; Balilla Marinaretti; Opera Nazionale Balilla", "identifier": "G.Q.U. 114", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0881.html" }, { "title": "La preghiera della patria (di S.A.R. Emanuele Filiberto Duca d'Aosta)", "creator": "Columbia", "date": "1936", "subject": "8 inches shellac record; Childhood; Education; Monarchy; Nation; Risorgimento", "identifier": "G.Q.U. 114", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0882.html" }, { "title": "Inno dei Balilla Moschettieri", "creator": "Columbia", "date": "1936", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "8 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla; Military; Balilla Moschettieri", "identifier": "G.Q.U. 115", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0883.html" }, { "title": "Canto della montagna (inno degli alpini)", "creator": "Columbia", "date": "1936", "subject": "8 inches shellac record; Childhood; Education; Military; Institution; Alpini", "identifier": "G.Q.U. 115", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0884.html" }, { "title": "Giovinezza", "creator": "Columbia", "date": "1936", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "8 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "G.Q.U. 116", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0885.html" }, { "title": "Marcia reale italiana", "creator": "Columbia", "date": "1936", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "8 inches shellac record; Monarchy; Nation; Risorgimento", "identifier": "G.Q.U. 116", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0886.html" }, { "title": "Inno dei Giovani fascisti", "creator": "Columbia", "date": "1936", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "8 inches shellac record; Youth; Institution; Giovani Fascisti", "identifier": "G.Q.U. 117", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0887.html" }, { "title": "Ala imperiale (Canto nazionale)", "creator": "Columbia", "date": "1936", "subject": "8 inches shellac record; Empire; Childhood; Education", "identifier": "G.Q.U. 117", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0888.html" }, { "title": "Bimbe d'Italia", "creator": "Columbia", "date": "1936", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "8 inches shellac record; Childhood; Education; Institution; Girls; Piccole Italiane; Opera Nazionale Balilla", "identifier": "G.Q.U. 118", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0889.html" }, { "title": "Dux", "creator": "Columbia", "date": "1936", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "8 inches shellac record; Mussolinismo; Childhood; Education", "identifier": "G.Q.U. 118", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0890.html" }, { "title": "Faccetta nera", "creator": "Columbia", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "8 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "G.Q.U. 131", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0891.html" }, { "title": "Chitarra romana ", "creator": "Columbia", "date": "1935", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "8 inches shellac record; Romanità", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "G.Q.U. 131", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0892.html" }, { "title": "Adua", "creator": "Columbia", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "8 inches shellac record; Ethiopia; Colonisation; War; Victory", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "G.Q.U. 132", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0893.html" }, { "title": "Inno marcia per i legionari dell'Africa orientale", "creator": "Columbia", "date": "1935", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "8 inches shellac record; Empire; War; Ethiopia; Colonisation; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "G.Q.U. 132", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre febbraio luglio, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0894.html" }, { "title": "Africanella", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "identifier": "DQ 1709", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0895.html" }, { "title": "Partono i soldatini", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "identifier": "DQ 1709", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0896.html" }, { "title": "Er sor capanna in Africa - Parte I", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "identifier": "DQ 1760", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0897.html" }, { "title": "Er sor capanna in Africa - Parte II", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "identifier": "DQ 1760", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0898.html" }, { "title": "Povero Selassie' - Parte I", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Haile Selassie; Satire", "identifier": "DQ 1759", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0899.html" }, { "title": "Povero Selassie' - Parte II", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Haile Selassie; Satire", "identifier": "DQ 1759", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0900.html" }, { "title": "Faccetta nera", "creator": "Columbia", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "identifier": "DQ 1726", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0901.html" }, { "title": "Ti saluto !… (…vado in Abissinia)", "creator": "Columbia", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was launched a few months before the start of the war and can be considered as propaganda material designed to stimulate the consent and mobilisation of the Italian people.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "identifier": "DQ 1726", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0902.html" }, { "title": "Faccetta nera", "creator": "Columbia", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, July 25 - August 25, 1935", "identifier": "DQ 1541", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0903.html" }, { "title": "Resta con me", "creator": "Columbia", "date": "1935", "subject": "10 inches shellac record; Light Music; Love", "source": "Corriere Musicale Rassegna Fonografica, July 25 - August 25, 1935", "identifier": "DQ 1541", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0904.html" }, { "title": "Faccetta nera", "creator": "Columbia", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "DQ 1693", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0905.html" }, { "title": "In Africa si va", "creator": "Columbia", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "DQ 1693", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0906.html" }, { "title": "Canto dei Volontari", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is from the movies \" All’ombra del Negus \" and \" Amo te sola \".", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Movie", "identifier": "DQ 1754", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0907.html" }, { "title": "Cuore d'Italia", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is from the movies \" All’ombra del Negus \".", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Movie; Mobilisation", "identifier": "DQ 1754", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0908.html" }, { "title": "Vieni a Macalle' (Letterina coloniale)", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Victory", "identifier": "DQ 1715", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0909.html" }, { "title": "Macalle'", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Victory", "identifier": "DQ 1715", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0910.html" }, { "title": "Noi tireremo diritto", "creator": "Columbia", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy", "identifier": "DQ 1727", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0911.html" }, { "title": "Inno d'Africa", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory; Empire", "identifier": "DQ 1727", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0912.html" }, { "title": "Avanti sempre", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; War; Mobilisation", "identifier": "DQ 1728", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0913.html" }, { "title": "Voce d'italia", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; War; Mobilisation", "identifier": "DQ 1728", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0914.html" }, { "title": "Ti saluto e vado in Abissinia", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "identifier": "DQ 1578", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0915.html" }, { "title": "La canzone dell'Africa", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "identifier": "DQ 1578", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0916.html" }, { "title": "Adua", "creator": "Columbia", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "DQ 1643", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0917.html" }, { "title": "Inno marcia per i legionari dell'Africa orientale", "creator": "Columbia", "date": "1935", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "DQ 1643", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0918.html" }, { "title": "Vogliamo andare dal Negus Neghesti", "creator": "Columbia", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Haile Selassie; Satire", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "DQ 1650", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0919.html" }, { "title": "Non piangere biondina", "creator": "Columbia", "date": "1935", "subject": "10 inches shellac record; War; Love", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "DQ 1650", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0920.html" }, { "title": "Cara mamma ", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; War; Mother", "identifier": "DQ 1697", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0921.html" }, { "title": "Parlami coi tuoi baci", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; Light Music; Love", "identifier": "DQ 1697", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0922.html" }, { "title": "Tammurriata d'autunno", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; Light Music", "identifier": "DQ 1699", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0923.html" }, { "title": "In Africa si va", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Colonisation; Ethiopia; War; Mobilisation", "identifier": "DQ 1699", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0924.html" }, { "title": "Terra redenta", "creator": "Columbia", "date": "1935", "description": "Littoria (now Latina) is a city built by the Fascist regime from June 1932, and inaugurated by Benito Mussolini in December 1932. It is located in the former Pontine marshes south of Rome, which Mussolini had drained in 1928 as part of his \"Battle of the Grain\" (Battaglia del grano) agricultural production policy. Built in a territory that had been \" reclaimed ‘ (Bonifica), i.e. transformed to achieve a policy objective, Littoria was used by Fascist propaganda as an example of the success of one of the regime's ’great works\".", "subject": "10 inches shellac record; Littoria; Town", "identifier": "DQ 1414", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0925.html" }, { "title": "Leggenda d'Africa", "creator": "Columbia", "date": "1935", "subject": "10 inches shellac record; Colonisation; Ethiopia; War", "identifier": "DQ 1414", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0926.html" }, { "title": "Cara mamma ", "creator": "Columbia", "date": "1936", "subject": "8 inches shellac record; War; Mother", "identifier": "G.Q.U. 148", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0927.html" }, { "title": "Luna Malinconica", "creator": "Columbia", "date": "1936", "subject": "8 inches shellac record; Light Music; Love", "identifier": "G.Q.U. 148", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0928.html" }, { "title": "Etiopia", "creator": "Columbia", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Victory; Empire", "identifier": "DQ 2204", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0929.html" }, { "title": "Giovinezza ", "creator": "Columbia", "date": "1937", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "DQ 2204", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0930.html" }, { "title": "Marcia reale; Giovinezza; Inno a Roma", "creator": "Columbia", "date": "1937", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism. \"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604). Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Nation; Monarchy; Risorgimento; Partito Nazionale Fascista", "identifier": "DQ 1967", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0931.html" }, { "title": "Inno dei Balilla Moschettieri; Bimbe d'Italia", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Girls; Piccole Italiane; Military; Balilla Moschettieri; Opera Nazionale Balilla", "identifier": "DQ 1967", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0932.html" }, { "title": "Inno a Roma", "creator": "Columbia", "date": "1937", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "identifier": "DQ 2402", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0933.html" }, { "title": "Giovinezza", "creator": "Columbia", "date": "1937", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "DQ 2402", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0934.html" }, { "title": "Impero", "creator": "Columbia", "date": "1937", "subject": "10 inches shellac record; Ethiopie; Colonisation; Empire", "identifier": "DQ 2416", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0935.html" }, { "title": "Etiopia", "creator": "Columbia", "date": "1937", "subject": "10 inches shellac record; Ethiopie; Colonisation; Empire", "identifier": "DQ 2416", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0936.html" }, { "title": "Impero", "creator": "Columbia", "date": "1937", "subject": "10 inches shellac record; Ethiopie; Colonisation; Empire", "identifier": "DQ 2336", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0937.html" }, { "title": "Giovinezza", "creator": "Columbia", "date": "1937", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "DQ 2336", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0938.html" }, { "title": "Ritorna il legionario ", "creator": "Columbia", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Victory; Empire; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1936", "identifier": "DQ 2127", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0939.html" }, { "title": "Etiopia", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Victory; Empire", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1936", "identifier": "DQ 2127", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0940.html" }, { "title": "Inno imperiale - La marcia delle Legioni", "creator": "Columbia", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Mussolinismo; Military; Legion; Empire", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "DQ 1966", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0941.html" }, { "title": "Inno a Roma", "creator": "Columbia", "date": "1936", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "DQ 1966", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0942.html" }, { "title": "La fine del mondo - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1988", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0943.html" }, { "title": "La fine del mondo - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1988", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0944.html" }, { "title": "Lavora, figlio moi, senza far pazzie - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1989", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0945.html" }, { "title": "Lavora, figlio moi, senza far pazzie - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1989", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0946.html" }, { "title": "Sei dolce o dolcetta ? - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1990", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0947.html" }, { "title": "Sei dolce o dolcetta ? - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1990", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0948.html" }, { "title": "Canzone di notte - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1991", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0949.html" }, { "title": "Canzone di notte - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1991", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0950.html" }, { "title": "O Bruna ! Che debbo fare ? - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1992", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0951.html" }, { "title": "O Bruna ! Che debbo fare ? - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1992", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0952.html" }, { "title": "Ho amato la ragazza che mi ha reso schiavo - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1993", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0953.html" }, { "title": "Ho amato la ragazza che mi ha reso schiavo - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1993", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0954.html" }, { "title": "Colui che calunnia - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1994", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0955.html" }, { "title": "Colui che calunnia - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1994", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0956.html" }, { "title": "L'amore delle ragazze moderne è come la mirra - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1995", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0957.html" }, { "title": "L'amore delle ragazze moderne è come la mirra - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1995", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0958.html" }, { "title": "L'amore è une disgrazia - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1996", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0959.html" }, { "title": "L'amore è une disgrazia - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1996", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0960.html" }, { "title": "Assolo di mandolino - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1997", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0961.html" }, { "title": "Assolo di mandolino - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Lybia; Empire; Folklore", "identifier": "DQ 1997", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0962.html" }, { "title": "Maolid (Lettura salmodiatica del Corano)", "creator": "Columbia", "date": "1936", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore; Sacred Music", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "DQ 1859", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0963.html" }, { "title": "Guelabiessi (Canto all'abbeveraggio dei cammelli) ", "creator": "Columbia", "date": "1936", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "DQ 1859", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0964.html" }, { "title": "Sadda (Canto nuziale per donne)", "creator": "Columbia", "date": "1936", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore; Love", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "DQ 1860", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0965.html" }, { "title": "Lalle (Canto nuziale per uomini)", "creator": "Columbia", "date": "1936", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore; Love", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "DQ 1860", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0966.html" }, { "title": "Kasso (Canto di festa)", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "DQ 1861", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0967.html" }, { "title": "Kalo ouale (Canto profetico)", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore; Sacred Music", "identifier": "DQ 1861", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0968.html" }, { "title": "Ahobbon fi fouadi - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 1", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0969.html" }, { "title": "Ahobbon fi fouadi - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 1", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0970.html" }, { "title": "Faker ya rohi - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 2", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0971.html" }, { "title": "Faker ya rohi - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 2", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0972.html" }, { "title": "Ya rih al siba - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 3", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0973.html" }, { "title": "Ya rih al siba - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 3", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0974.html" }, { "title": "An soleima - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 4", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0975.html" }, { "title": "An soleima - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 4", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0976.html" }, { "title": "Ya guedalt el sed - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 5", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0977.html" }, { "title": "Ya guedalt el sed - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 5", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0978.html" }, { "title": "Ya zinat el baha - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 6", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0979.html" }, { "title": "Ya zinat el baha - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 6", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0980.html" }, { "title": "Ya nassiman - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 7", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0981.html" }, { "title": "Ya nassiman - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 7", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0982.html" }, { "title": "Howa elli Yeheb - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 8", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0983.html" }, { "title": "Howa elli Yeheb - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 8", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0984.html" }, { "title": "Ala kad chouki - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 9", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0985.html" }, { "title": "Ala kad chouki - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 9", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0986.html" }, { "title": "Baad ma dahet hayati - Parte I", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 10", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0987.html" }, { "title": "Baad ma dahet hayati - Parte II", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; Empire; Arabic World; Folklore", "identifier": "DAQ 10", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0988.html" }, { "title": "Maua (Semehu ya kwanza)", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 1", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0989.html" }, { "title": "Maua (Semehu ya pili)", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 1", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0990.html" }, { "title": "Lele na harisi (Sehemu ya kwanza)", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 2", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0991.html" }, { "title": "Lele na harisi (Sehemu ya pili)", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 2", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0992.html" }, { "title": "Kofia nyekundu", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 3", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0993.html" }, { "title": "Tumkimiree Simba", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 3", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0994.html" }, { "title": "Mangala siyema", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 4", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0995.html" }, { "title": "Nipe Changu kitumbua", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 4", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0996.html" }, { "title": "Askaz kumyenga", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 5", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0997.html" }, { "title": "Habari ya milio ya wanyama", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 5", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0998.html" }, { "title": "Hikaya ya abunuwasi - Seheme ya kwanza", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 6", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_0999.html" }, { "title": "Hikaya ya abunuwasi - Seheme ya pili", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 6", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1000.html" }, { "title": "Taksim Hijazi", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 7", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1001.html" }, { "title": "Besharaf nadi hijaz huka (Wimbo wa Vinanda vitatu)", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 7", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1002.html" }, { "title": "Mwakambeya", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 8", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1003.html" }, { "title": "Natupige hodi", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 8", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1004.html" }, { "title": "Kigarawa - Sehemu ya kwanza", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 9", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1005.html" }, { "title": "Kigarawa - Sehemu ya pili", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 9", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1006.html" }, { "title": "Taksim ya udi (Udi solo)", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 10", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1007.html" }, { "title": "Taksim ya fidla (Fiddle solo)", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a series of records of African folk music gathered in a section of Columbia's 1938 general catalog under the title \"Songs of Africa\". Many of these records are related to the Italian colonial empire established in Libya and East Africa (Ethiopia, Somalia), either by language (Arabic, Somali, Dancali) or by the origin of the native musicians recorded. Released after the foundation of Italian East Africa, they cover only part of North and East Africa, and do not include parts of the continent not colonized by Italy or close to its colonies. These records can be seen both as the harvesting of some of the resources, in this case cultural, of the colonized territories, as a means of familiarizing the Italian people with the indigenous cultures of the former Italian colonies in Libya and Somalia, but also, perhaps, as a means of fuelling or responding to an Italian interest in East Africa and the expansion of Italian East Africa beyond Ethiopia and Somalia. This effort at familiarization could ultimately encourage the establishment of settlers from Italy to develop the colonized territories and reinforce their appropriation by the regime, or work the consent of Italians to Fascist imperialism in Africa. The catalog states that this recording was made in Columbia's \"laboratory\" in Milan by \"indigenous elements expressly hired\" for the purpose.", "subject": "10 inches shellac record; Colonisation; East-Africa; Empire; Folklore", "identifier": "WEQ 10", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1008.html" }, { "title": "Ninna nanna imperiale", "creator": "Columbia", "date": "1937", "subject": "10 inches shellac record; Empire", "identifier": "DQ 2286", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1009.html" }, { "title": "Ninna nanna", "creator": "Columbia", "date": "1937", "subject": "10 inches shellac record; Childhood; Light Music", "identifier": "DQ 2286", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1010.html" }, { "title": "Carovane del Tigrai", "creator": "Columbia", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "DQ 1772", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1011.html" }, { "title": "Ninna nanna azzura", "creator": "Columbia", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Martyr", "identifier": "DQ 1772", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1012.html" }, { "title": "Faccetta nera", "creator": "Columbia", "date": "1936", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936 (this version), as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; African Women", "identifier": "DQ 2138", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1013.html" }, { "title": "Ti saluto !… (…vado in Abissinia)", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was launched a few months before the start of the war and can be considered as propaganda material designed to stimulate the consent and mobilisation of the Italian people.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1936", "identifier": "DQ 2138", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1014.html" }, { "title": "Figli d'Italia", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1936", "identifier": "DQ 1864", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1015.html" }, { "title": "Riconoscenza", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "DQ 1864", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1016.html" }, { "title": "Guadalajara", "creator": "Columbia", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Legion; Institution; Corpo Truppe Volontarie", "identifier": "DQ 2453", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1017.html" }, { "title": "Spagnolita", "creator": "Columbia", "date": "1937", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Francisco Franco", "identifier": "DQ 2453", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1018.html" }, { "title": "Letterine d'Africa ", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Love", "source": "Corriere Musicale Rassegna Fonografica, February 25 - March 25, 1936", "identifier": "DQ 1770", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1019.html" }, { "title": "Raggio di sole", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, February 25 - March 25, 1936", "identifier": "DQ 1770", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1020.html" }, { "title": "Recitare", "creator": "Columbia", "date": "1937", "subject": "10 inches shellac record; Light Music", "identifier": "DQ 2418", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1021.html" }, { "title": "Spagnolita", "creator": "Columbia", "date": "1937", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Francisco Franco", "identifier": "DQ 2418", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1022.html" }, { "title": "Ti portero' con me in Abissinia", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation", "source": "Corriere Musicale Rassegna Fonografica, February 25 - March 25, 1936", "identifier": "DQ 1776", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1023.html" }, { "title": "Signora spich inglese", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; War; United Kingdom; Satire", "source": "Corriere Musicale Rassegna Fonografica, February 25 - March 25, 1936", "identifier": "DQ 1776", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1024.html" }, { "title": "Frecce nere", "creator": "Columbia", "date": "1937", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Institution; Corpo Truppe Volontarie", "identifier": "DQ 2415", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1025.html" }, { "title": "La canzone della vittoria", "creator": "Columbia", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Victory; Empire", "identifier": "DQ 2415", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1026.html" }, { "title": "Arriba Espana", "creator": "Columbia", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Legion", "identifier": "DQ 2295", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1027.html" }, { "title": "Cantate di legionari", "creator": "Columbia", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Empire; Military; Legion", "identifier": "DQ 2295", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1028.html" }, { "title": "Duce, Duce, Duce", "creator": "Columbia", "date": "1937", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo", "identifier": "DQ 2186", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1029.html" }, { "title": "Ritorna il legionario ", "creator": "Columbia", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Victory; Empire; Military; Legion", "identifier": "DQ 2186", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1030.html" }, { "title": "La madonnina degli aviatori", "creator": "Columbia", "date": "1936", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Aviation; Martyr", "source": "Corriere Musicale Rassegna Fonografica, July 25 - August 25, 1936", "identifier": "DQ 1896", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1031.html" }, { "title": "Il canto dell'aviatore", "creator": "Columbia", "date": "1936", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Aviation; War; Love", "source": "Corriere Musicale Rassegna Fonografica, July 25 - August 25, 1936", "identifier": "DQ 1896", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1032.html" }, { "title": "C'era una volta il Negus", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Satire; Haile Selassie", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "DQ 1878", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1033.html" }, { "title": "Ti porto in Italia", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; African Women", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "DQ 1878", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1034.html" }, { "title": "L'eroe reggino", "creator": "Columbia", "date": "1937", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Martyr; Aviation", "identifier": "DQ 1829", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1035.html" }, { "title": "L'Italia protettrice", "creator": "Columbia", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation", "identifier": "DQ 1829", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1036.html" }, { "title": "Avanti o Italia", "creator": "Columbia", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "identifier": "DQ 1822", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1037.html" }, { "title": "Africa nostra", "creator": "Columbia", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Institution; Legion", "identifier": "DQ 1822", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1038.html" }, { "title": "È finito il bel tempo che fu", "creator": "Columbia", "date": "1937", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; War; Ethiopia; Sanctions; League of Nations; Satire; Autarchy", "identifier": "DQ 1820", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1039.html" }, { "title": "Valzer vagabondo", "creator": "Columbia", "date": "1937", "subject": "10 inches shellac record; Light Music", "identifier": "DQ 1820", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1040.html" }, { "title": "Soldatino bianco", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; War", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "DQ 1816", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1041.html" }, { "title": "Africa nostra (Inno dei Legionari Africani)", "creator": "Columbia", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "DQ 1816", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1042.html" }, { "title": "O Duce d'Italia", "creator": "Columbia", "date": "1936", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo; Empire", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "DQ 1898", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1043.html" }, { "title": "Soldati d'Impero", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; War; Victory; Empire", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "DQ 1898", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1044.html" }, { "title": "Il mondo che fa ?", "creator": "Columbia", "date": "1937", "subject": "10 inches shellac record; Satire", "identifier": "DQ 1862", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1045.html" }, { "title": "L'imperatore si confessa (Povero, povero Sellassiè)", "creator": "Columbia", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Satire; Ethiopia; Haile Selassie", "identifier": "DQ 1862", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1046.html" }, { "title": "Te chiami Italia", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "DQ 1931", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1047.html" }, { "title": "Surdato del lavoro", "creator": "Columbia", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Ethiopia; War; Empire; Sanctions; League of Nations; Autarchy", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "DQ 1931", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1048.html" }, { "title": "Carovane del Tigrai", "creator": "Columbia", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "8 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "G.Q.U. 159", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1049.html" }, { "title": "Tu mi piaci", "creator": "Columbia", "date": "1937", "subject": "8 inches shellac record; Light Music; Love", "identifier": "G.Q.U. 159", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1050.html" }, { "title": "Partenza del volontario", "creator": "Columbia", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "8 inches shellac record; War; Mobilisation; Ethiopia; Colonisation", "identifier": "G.Q.U. 167", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1051.html" }, { "title": "Riconoscenza", "creator": "Columbia", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "8 inches shellac record; Ethiopia; Colonisation; War", "identifier": "G.Q.U. 167", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1052.html" }, { "title": "Faccetta nera", "creator": "Columbia", "date": "1937", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "8 inches shellac record; Ethiopia; Colonisation; War; African Women", "identifier": "G.Q.U. 192", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1053.html" }, { "title": "Canto dei volontari", "creator": "Columbia", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "8 inches shellac record; Ethiopia; Colonisation; War; Movie", "identifier": "G.Q.U. 192", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1054.html" }, { "title": "Faccetta nera", "creator": "Columbia", "date": "1936", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "6 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "P.M. 188", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1055.html" }, { "title": "Adua", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "6 inches shellac record; Ethiopia; Colonisation; War; Victory", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "P.M. 188", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, 1938", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1056.html" }, { "title": "Canto della Massaia", "creator": "Columbia", "date": "1938", "subject": "10 inches shellac record; Light Music", "identifier": "DQ 2688", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1057.html" }, { "title": "Frecce nere", "creator": "Columbia", "date": "1938", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Legion; Institution; Corpo Truppe Volontarie", "identifier": "DQ 2688", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1058.html" }, { "title": "La cancion del legionario (Viva la muerte)", "creator": "Columbia", "date": "1938", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Legion", "identifier": "DQ 2689", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1059.html" }, { "title": "I tre condottieri", "creator": "Columbia", "date": "1938", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Benito Mussolini; Adolf Hitler; Francisco Franco; Spanish Civil War", "identifier": "DQ 2689", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1060.html" }, { "title": "Gioventù del Littorio", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Gioventù Italiana del Littorio", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1938", "identifier": "DQ 2510", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1061.html" }, { "title": "Bimbe del littorio", "creator": "Columbia", "date": "1937", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Gioventù Italiana del Littorio", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1938", "identifier": "DQ 2510", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1062.html" }, { "title": "Inno al re imperatore", "creator": "Columbia", "date": "1937", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1938", "identifier": "DQ 2511", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1063.html" }, { "title": "L'eroe di Agos Corarò", "creator": "Columbia", "date": "1937", "subject": "10 inches shellac record; War; Martyr", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1938", "identifier": "DQ 2511", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1064.html" }, { "title": "Canzone eterna", "creator": "Columbia", "date": "1937", "description": "This song won first prize in a competition organized by Opera Nazionale Dopolavoro. This recording represents the Opera Nazionale Dopolavoro (OND) or participates in promoting the leisure policy it implements. Created in 1925 by the regime, the OND was aimed at workers, whose unions it intended to replace (the site of an intolerable socialist policy opposed with great violence) and to organize leisure time (\"Dopolavoro\"). By bringing together several thousand workers' associations engaged in a wide range of activities, and directing them in line with Fascist policies, the OND enabled the regime to put down roots in the world of work, organize a significant part of Italians' leisure time by mixing politics and culture, and invest a little more of their private lives. In this way, it contributed to the realization of Fascist totalitarianism (see Victoria De Grazia, \"Dopolavoro\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, pp. 443-447).", "subject": "10 inches shellac record; Light Music; Concorso Piedigrotta; Opera Nazionale Dopolavoro", "source": "Corriere Musicale Rassegna Fonografica, October 15, 1937", "identifier": "DQ 2423", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1065.html" }, { "title": "La canzone dell'operaio", "creator": "Columbia", "date": "1937", "description": "This recording represents the Opera Nazionale Dopolavoro (OND) or participates in promoting the leisure policy it implements. Created in 1925 by the regime, the OND was aimed at workers, whose unions it intended to replace (the site of an intolerable socialist policy opposed with great violence) and to organize leisure time (\"Dopolavoro\"). By bringing together several thousand workers' associations engaged in a wide range of activities, and directing them in line with Fascist policies, the OND enabled the regime to put down roots in the world of work, organize a significant part of Italians' leisure time by mixing politics and culture, and invest a little more of their private lives. In this way, it contributed to the realization of Fascist totalitarianism (see Victoria De Grazia, \"Dopolavoro\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, pp. 443-447).", "subject": "10 inches shellac record; Work; Mussolinismo; Autarchy; Concorso Piedigrotta; Opera Nazionale Dopolavoro", "source": "Corriere Musicale Rassegna Fonografica, October 15, 1937", "identifier": "DQ 2423", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1066.html" }, { "title": "Addis Abeba", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; War; Ethiopia; Colonisation", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "DQ 1802", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1067.html" }, { "title": "Piangi violino", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "DQ 1802", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1068.html" }, { "title": "O rondinella, camicina nera", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Military; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "DQ 1803", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1069.html" }, { "title": "Africanella (1894)", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Remembrance", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "DQ 1803", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1070.html" }, { "title": "Parata imperiale (marcia per passo romano)", "creator": "Columbia", "date": "1938", "subject": "10 inches shellac record; War; Military", "identifier": "DQ 2690", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1071.html" }, { "title": "Aviazione legionaria", "creator": "Columbia", "date": "1938", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Aviation; Military; Institution; Legion; Aviazione legionaria", "identifier": "DQ 2690", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1072.html" }, { "title": "Guidona", "creator": "Columbia", "date": "1938", "subject": "10 inches shellac record; Partito Nazionale Fascista", "identifier": "DQ 2691", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1073.html" }, { "title": "Ala fascista", "creator": "Columbia", "date": "1938", "subject": "10 inches shellac record; Partito Nazionale Fascista", "identifier": "DQ 2691", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1074.html" }, { "title": "Vecchia Marcia Militare", "creator": "Columbia", "date": "1938", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Military; Aviation", "identifier": "DQ 2692", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1075.html" }, { "title": "Inno all'aviatore", "creator": "Columbia", "date": "1938", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Military; Aviation", "identifier": "DQ 2692", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1076.html" }, { "title": "Pisellino si presenta", "creator": "Columbia", "date": "1938", "subject": "8 inches shellac record; Childhood", "identifier": "G.Q.U. 213", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1077.html" }, { "title": "Pisellino a scuola", "creator": "Columbia", "date": "1938", "subject": "8 inches shellac record; Childhood; Education", "identifier": "G.Q.U. 213", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1078.html" }, { "title": "Pisellino e i soldatini", "creator": "Columbia", "date": "1938", "subject": "8 inches shellac record; Childhood; War; Military", "identifier": "G.Q.U. 214", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1079.html" }, { "title": "Pisellino va in campagna", "creator": "Columbia", "date": "1938", "subject": "8 inches shellac record; Childhood", "identifier": "G.Q.U. 214", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1080.html" }, { "title": "Pisellino ai giardini pubblici", "creator": "Columbia", "date": "1938", "subject": "8 inches shellac record; Childhood", "identifier": "G.Q.U. 215", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1081.html" }, { "title": "Pisellino in Africana", "creator": "Columbia", "date": "1938", "subject": "8 inches shellac record; Childhood; Ethiopia; Colonisation", "identifier": "G.Q.U. 215", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo I. semestre gennaio giugno, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1082.html" }, { "title": "Marcia Reale e Imperiale", "creator": "Columbia", "date": "1939", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Risorgimento; Empire; Women", "identifier": "DQ 2842", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1083.html" }, { "title": "Inno al mare di Roma", "creator": "Columbia", "date": "1939", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Romanità; Women", "identifier": "DQ 2842", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1084.html" }, { "title": "Gioventù del Littorio", "creator": "Columbia", "date": "1939", "subject": "10 inches shellac record; Childhood; Education; Gioventù Italiana del Littorio", "identifier": "DQ 2924", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1085.html" }, { "title": "Moschetto e vanga", "creator": "Columbia", "date": "1939", "subject": "10 inches shellac record; Partito Nazionale Fascista", "identifier": "DQ 2924", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1086.html" }, { "title": "Franco vittorioso (La canzone della Vittoria della Spagna Nazionale)", "creator": "Columbia", "date": "1939", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Victory", "identifier": "DQ 2925", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1087.html" }, { "title": "Ritornaro gli Eroi", "creator": "Columbia", "date": "1939", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Victory", "identifier": "DQ 2925", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1088.html" }, { "title": "Inno dell'Impero", "creator": "Columbia", "date": "1939", "subject": "10 inches shellac record; Empire", "identifier": "DQ 3003", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1089.html" }, { "title": "Inno dei Giovani fascisti", "creator": "Columbia", "date": "1939", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "10 inches shellac record; Youth; Institution; Giovani Fascisti", "identifier": "DQ 3003", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1090.html" }, { "title": "Inno dell'Impero", "creator": "Columbia", "date": "1939", "subject": "10 inches shellac record; Empire", "identifier": "CQX 16611", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1091.html" }, { "title": "Prehiera dei Legionario prima della battaglia", "creator": "Columbia", "date": "1939", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Military; Legion", "identifier": "CQX 16611", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1092.html" }, { "title": "La morte della mula di Batteria (Simultaneità in parole in libertà futuriste) dal \"Poema Africano\"", "creator": "Columbia", "date": "1937", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Futurism", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1937", "identifier": "DQ 2273", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1093.html" }, { "title": "La difesa del Passo Uarieu (Simultaneità in parole in libertà futuriste) dal \"Poema Africano\"", "creator": "Columbia", "date": "1937", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Futurism", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1937", "identifier": "DQ 2273", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, January 1, 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1094.html" }, { "title": "Fanfare e Marcia Reale", "creator": "Odeon", "date": "1930", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Risorgimento; Nation", "identifier": "7948 O", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Macchine parlante dischi, 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1095.html" }, { "title": "Giovinezza", "creator": "Odeon", "date": "1930", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "7948 O", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Macchine parlante dischi, 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1096.html" }, { "title": "Giovinezza", "creator": "Odeon", "date": "1930", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "7949 O", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Macchine parlante dischi, 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1097.html" }, { "title": "Inno Pontifico", "creator": "Odeon", "date": "1930", "description": "This recording is published in reference to the Lateran Accords, signed on February 11, 1929 between Italy, represented by Benito Mussolini, and the Holy See. These agreements settled a political conflict that had pitted the Holy See against the Kingdom of Italy since the latter had taken Rome from the Papal States in 1870 to make it its capital. Their signature confirmed Catholicism as the state religion, defined today's Vatican City and limited the Pope's temporal power there. They served to calm political relations between the Italian state and the Holy See, while offering the regime the ultimately unsuccessful opportunity to fascize the Catholic Church.", "subject": "10 inches shellac record; Diplomacy; Vatican", "identifier": "7949 O", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Macchine parlante dischi, 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1098.html" }, { "title": "Marcia della ritirata della R. Marina", "creator": "Odeon", "date": "1930", "description": "A result of the Risorgimento (the process of Italian unification), the Regia Marina Italiana (Italian Royal Navy) was the military navy of the Kingdom of Italy between 1961 and 1946. On record, its anthem, \"La Ritirata\", is often paired with Fascist hymns (e.g. \"Giovinezza\" or \"Rusticanella\").", "subject": "10 inches shellac record; Military; Institution; Regia Marina Italiana; Risorgimento", "identifier": "7950 O", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Macchine parlante dischi, 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1099.html" }, { "title": "La leggenda del Piave", "creator": "Odeon", "date": "1930", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "7950 O", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Macchine parlante dischi, 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1100.html" }, { "title": "Inno di Garibaldi", "creator": "Odeon", "date": "1930", "subject": "10 inches shellac record; Nation; Risorgimento", "identifier": "7951 O", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Macchine parlante dischi, 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1101.html" }, { "title": "Giovinezza", "creator": "Odeon", "date": "1930", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "7951 O", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Macchine parlante dischi, 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1102.html" }, { "title": "Fanfare e Marcia Reale Italiana", "creator": "Odeon", "date": "1930 ?", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Nation; Monarchy; Risorgimento", "identifier": "10095 O", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Catologo generale, 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1103.html" }, { "title": "La Brabançonne", "creator": "Odeon", "date": "1930 ?", "description": "During the ventennio, national anthems and other songs representative of a nation are sometimes released on record at a time when the Fascist regime has very good relations, or an alliance, with a foreign nation. Releasing these foreign anthems on record was probably a way of representing these diplomatic relations and cultivating a feeling of sympathy, even closeness, between the peoples of the nations involved.", "subject": "10 inches shellac record; Diplomacy; Belgium", "identifier": "10095 O", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Catologo generale, 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1104.html" }, { "title": "Giovinezza ", "creator": "Odeon", "date": "1930 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "2099 A", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Catologo generale, 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1105.html" }, { "title": "Il Condottiero (Canzone degli squadristi)", "creator": "Odeon", "date": "1930 ?", "description": "This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "2099 A", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Catologo generale, 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1106.html" }, { "title": "Avanguardisti a noi !", "creator": "Odeon", "date": "1930 ?", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Avanguardisti; Opera Nazionale Balilla", "identifier": "2194 A", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Catologo generale, 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1107.html" }, { "title": "Il canto del lavoro", "creator": "Odeon", "date": "1930 ?", "description": "This song is a Fascist celebration of work and its contribution to the homeland. Composed by Pietro Mascagni, one of the most popular living Italian composers, it is introduced by a propaganda text in the catalog of the record company La Voce del Padrone dated October 1, 1929 (p. 220): \"The new Italy, the Italy that marches confidently towards the future under the aegis of the Fascio Littorio, symbol of imperishable Romanity, today has its ‘Canto del Lavoro’, a veritable hymn of joy, glorifying the conquests of hard-won labor in the workshops and among the clods of mother earth; the idea of ‘Patria’ (Homeland) reigns supreme and is expressed with accents of the purest enthusiasm\". Edmondo Rossoni and Libero Bovio wrote this vibrant, passionate poem, and Pietro Mascagni set it to music with the irresistible élan of his fiery imagination. Conceived by Rossoni in the bitterness of his pre-war exile, \"Il Canto del Lavoro\" powerfully expresses the sorrows and dazzling joys of those who live by their work. The performances, entrusted to La Scala choristers and orchestra teachers under the direction of Mo. Mascagni himself, and the Corpo Musicale della R. Marina Italiana (Mo. Aghemo), were nothing short of impressive.\"", "subject": "10 inches shellac record; Work", "identifier": "2194 A", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Catologo generale, 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1108.html" }, { "title": "Inno del Finanziere", "creator": "Odeon", "date": "1935 ?", "description": "This record represents the Regia Guardia di Finanza (Royal Guard of Finance). Created in 1862 to control customs in the newly-created Kingdom of Italy during the Risorgimento (the process of Italian unification), its 12,000 men played a full part in the First World War. Shortly after coming to power, the Fascist regime transformed it from a customs police force into a tax investigation police force.", "subject": "10 inches shellac record; Institution; Regia Guardia di Finanza; Military; Risorgimento", "identifier": "C 18018", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1109.html" }, { "title": "Marcia d'ordinanza del corpo delle Reale Guardia di Finanza", "creator": "Odeon", "date": "1935 ?", "description": "This record represents the Regia Guardia di Finanza (Royal Guard of Finance). Created in 1862 to control customs in the newly-created Kingdom of Italy during the Risorgimento (the process of Italian unification), its 12,000 men played a full part in the First World War. Shortly after coming to power, the Fascist regime transformed it from a customs police force into a tax investigation police force.", "subject": "10 inches shellac record; Institution; Regia Guardia di Finanza; Military; Risorgimento", "identifier": "C 18018", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1110.html" }, { "title": "Inno hilteriano (Die Fahne hoch !) (Horst Wessel-Lied)", "creator": "Odeon", "date": "1935 ?", "description": "During the ventennio, national anthems and other songs representative of a nation are sometimes released on record at a time when the Fascist regime has very good relations, or an alliance, with a foreign nation. Releasing these foreign anthems on record was probably a way of representing these diplomatic relations and cultivating a feeling of sympathy, even closeness, between the peoples of the nations involved.", "subject": "10 inches shellac record; Diplomacy; Germany", "identifier": "GO 17722", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1111.html" }, { "title": "Inno nazionale tedesco (Deutschland, Deutschland über alles)", "creator": "Odeon", "date": "1935 ?", "description": "During the ventennio, national anthems and other songs representative of a nation are sometimes released on record at a time when the Fascist regime has very good relations, or an alliance, with a foreign nation. Releasing these foreign anthems on record was probably a way of representing these diplomatic relations and cultivating a feeling of sympathy, even closeness, between the peoples of the nations involved.", "subject": "10 inches shellac record; Diplomacy; Germany", "identifier": "GO 17722", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1112.html" }, { "title": "Marcia Reale; Giovinezza", "creator": "Odeon", "date": "1935 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604). The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Nation; Risorgimento; Partito Nazionale Fascista", "identifier": "GO 17773", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1113.html" }, { "title": "All'armi !", "creator": "Odeon", "date": "1935 ?", "description": "The song \"All'armi\" was used as the hymn of the National Fascist Party when it was founded in November 1921. It glorifies the extreme violence carried out by the squadrists against the Fascists' political opponents, particularly the Communists, at the turn of the 1920s. The song Giovinezza, also used as the new party's anthem, finally became its official hymn in 1924, with a new lyrics by Salvatore Gotta.", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence", "identifier": "GO 17773", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1114.html" }, { "title": "Inno dei Giovani fascisti", "creator": "Odeon", "date": "1935 ?", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "10 inches shellac record; Youth; Institution; Giovani Fascisti", "identifier": "17774 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1115.html" }, { "title": "All'armi !", "creator": "Odeon", "date": "1935 ?", "description": "The song \"All'armi\" was used as the hymn of the National Fascist Party when it was founded in November 1921. It glorifies the extreme violence carried out by the squadrists against the Fascists' political opponents, particularly the Communists, at the turn of the 1920s. The song Giovinezza, also used as the new party's anthem, finally became its official hymn in 1924, with a new lyrics by Salvatore Gotta.", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence", "identifier": "17774 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1116.html" }, { "title": "La canzone del Grappa", "creator": "Odeon", "date": "1935 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "17777 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1117.html" }, { "title": "Marcia della ritirata della R. Marina", "creator": "Odeon", "date": "1935 ?", "description": "A result of the Risorgimento (the process of Italian unification), the Regia Marina Italiana (Italian Royal Navy) was the military navy of the Kingdom of Italy between 1961 and 1946. On record, its anthem, \"La Ritirata\", is often paired with Fascist hymns (e.g. \"Giovinezza\" or \"Rusticanella\").", "subject": "10 inches shellac record; Military; Navy; Institution; Regia Marina Italiana; Risorgimento", "identifier": "17777 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1118.html" }, { "title": "Inno del decennale", "creator": "Odeon", "date": "1935 ?", "description": "Inno del Decennale\" celebrates the 10th anniversary of the rise to power of Benito Mussolini and the National Fascist Party. Written by Sardinian musicologist and director of the Discoteca di Stato Gavino Gabriel, and composed by Umberto Giordano, it brings together all the clichés of the Fascist imaginary (Romanità, heroism, martyrdom, empire) and glorifies \"Italian civilization\". Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Remembrance; Mussolinismo; Romanità; Martyr", "identifier": "17043 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1119.html" }, { "title": "La canzone del Grappa", "creator": "Odeon", "date": "1935 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "17043 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1120.html" }, { "title": "Giovinezza", "creator": "Odeon", "date": "1935", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "GO 17177", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1121.html" }, { "title": "Marcia reale italiana", "creator": "Odeon", "date": "1935", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Nation; Risorgimento", "identifier": "GO 17177", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1122.html" }, { "title": "Balilla (Inno ufficiale dei fanciulli fascisti)", "creator": "Odeon", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "GO 17213", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1123.html" }, { "title": "Marcia delle Legioni (Inno imperiale)", "creator": "Odeon", "date": "1935", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Mussolinismo; Military; Legion; Empire", "identifier": "GO 17213", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1124.html" }, { "title": "Bimbe d'Italia", "creator": "Odeon", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record Childhood; Education; Institution; Girls; Piccole Italiane; Opera Nazionale Balilla", "identifier": "GO 17214", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1125.html" }, { "title": "Giovanni Fascisti", "creator": "Odeon", "date": "1935", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "10 inches shellac record; Youth; Institution; Giovani Fascisti", "identifier": "GO 17214", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1126.html" }, { "title": "Decennale Littorio (Inno trionfale per il passo di parata delle Legioni Giovanili del’O.N.B.)", "creator": "Odeon", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "GO 17262", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1127.html" }, { "title": "Balilla (Inno ufficiale dei fanciulli fascisti)", "creator": "Odeon", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "GO 17262", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1128.html" }, { "title": "Inno a Roma", "creator": "Odeon", "date": "1935", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "identifier": "GO 17269", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1129.html" }, { "title": "Giovanni Fascisti (Inno ufficiale)", "creator": "Odeon", "date": "1935", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "10 inches shellac record; Youth; Institution; Giovani Fascisti", "identifier": "GO 17269", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1130.html" }, { "title": "O.N.D.", "creator": "Odeon", "date": "1935", "description": "This recording represents the Opera Nazionale Dopolavoro (OND) or participates in promoting the leisure policy it implements. Created in 1925 by the regime, the OND was aimed at workers, whose unions it intended to replace (the site of an intolerable socialist policy opposed with great violence) and to organize leisure time (\"Dopolavoro\"). By bringing together several thousand workers' associations engaged in a wide range of activities, and directing them in line with Fascist policies, the OND enabled the regime to put down roots in the world of work, organize a significant part of Italians' leisure time by mixing politics and culture, and invest a little more of their private lives. In this way, it contributed to the realization of Fascist totalitarianism (see Victoria De Grazia, \"Dopolavoro\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, pp. 443-447).", "subject": "10 inches shellac record; Leisure; Institution; Opera Nazionale Dopolavoro", "source": "Corriere Musicale Rassegna Fonografica, July 25 - August 25, 1935", "identifier": "12301 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1131.html" }, { "title": "Inno degli sciatori", "creator": "Odeon", "date": "1935", "subject": "10 inches shellac record; Ski; Sport; Leisure", "source": "Corriere Musicale Rassegna Fonografica, July 25 - August 25, 1935", "identifier": "12301 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1132.html" }, { "title": "Giovinezza", "creator": "Odeon", "date": "1935 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "17947 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1133.html" }, { "title": "Balilla", "creator": "Odeon", "date": "1935 ?", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "17947 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1134.html" }, { "title": "Giovinezza", "creator": "Odeon", "date": "1935 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "17038 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1135.html" }, { "title": "La leggenda del Piave (Canzone marcia nazionale)", "creator": "Odeon", "date": "1935 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "17038 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1136.html" }, { "title": "Adua", "creator": "Odeon", "date": "1935", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12375 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1137.html" }, { "title": "Cara mamma", "creator": "Odeon", "date": "1935", "subject": "10 inches shellac record; War", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12375 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1138.html" }, { "title": "Faccetta nera", "creator": "Odeon", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12341 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1139.html" }, { "title": "Ti saluto !… (…vado in Abissinia)", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12341 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1140.html" }, { "title": "Ti saluto !… (…vado in Abissinia)", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12342 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1141.html" }, { "title": "Inno dei Balilla Moschettieri", "creator": "Odeon", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Military; Balilla Moschettieri; Opera Nazionale Balilla", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12342 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1142.html" }, { "title": "Faccetta nera", "creator": "Odeon", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12373 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1143.html" }, { "title": "Africanella", "creator": "Odeon", "date": "1935", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12373 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1144.html" }, { "title": "Cara mamma", "creator": "Odeon", "date": "1935", "subject": "10 inches shellac record; War; Mother", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12395 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1145.html" }, { "title": "Ti manderò una cartolina", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Military; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12395 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1146.html" }, { "title": "Macallè", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Martyr; War; Ethiopia; Colonisation; Victory", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12409 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1147.html" }, { "title": "Canzone azzura", "creator": "Odeon", "date": "1935", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Aviation", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12409 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1148.html" }, { "title": "Luce di Roma", "creator": "Odeon", "date": "1935", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Romanità; Town", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12431 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1149.html" }, { "title": "la canzone della neve (Canzone degli alpini)", "creator": "Odeon", "date": "1935", "subject": "10 inches shellac record; Military; Institution; Alpini", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12431 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1150.html" }, { "title": "Faccetta nera", "creator": "Odeon", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12374 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1151.html" }, { "title": "Quest'è la donna", "creator": "Odeon", "date": "1935", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12374 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1152.html" }, { "title": "Cara mamma", "creator": "Odeon", "date": "1935", "subject": "10 inches shellac record; War; Mother", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12427 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1153.html" }, { "title": "Rosario", "creator": "Odeon", "date": "1935", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "12427 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1154.html" }, { "title": "Adua", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "12413 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1155.html" }, { "title": "Nanà", "creator": "Odeon", "date": "1935", "subject": "10 inches shellac record; Light Music", "identifier": "12413 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1156.html" }, { "title": "Marcia Reale Imperiale italiana", "creator": "Odeon", "date": "1938", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Childhood; Education; Monarchy; Risorgimento; Nation; Empire", "source": "Corriere Musicale Rassegna Fonografica, September 15, 1938", "identifier": "GO 19319", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1157.html" }, { "title": "Asse Roma-Berlino", "creator": "Odeon", "date": "1938", "description": "During the ventennio, national anthems and other songs representative of a nation are sometimes released on record at a time when the Fascist regime has very good relations, or an alliance, with a foreign nation. Releasing these foreign anthems on record was probably a way of representing these diplomatic relations and cultivating a feeling of sympathy, even closeness, between the peoples of the nations involved.", "subject": "10 inches shellac record; Childhood; Education; Axis; Germany; Diplomacy", "source": "Corriere Musicale Rassegna Fonografica, September 15, 1938", "identifier": "GO 19319", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1158.html" }, { "title": "Inno della Gioventù Italiana del Littorio", "creator": "Odeon", "date": "1938", "subject": "10 inches shellac record; Childhood; Education; Institution; Gioventù Italiana del Littorio", "source": "Corriere Musicale Rassegna Fonografica, September 15, 1938", "identifier": "GO 19163", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1159.html" }, { "title": "I sorci verdi", "creator": "Odeon", "date": "1938", "description": "I Sorci Verdi refers to a famous Italian team of military aviators to which Bruno Mussolini, son of Benito Mussolini, belonged. These aviators were considered national heroes not only for their sporting achievements, but also because they embodied Italian excellence in aviation, a field whose development was supported by the Fascist regime. At the time, aviation represented the power and modernity of technical progress, and the successes that Fascist Italy could achieve in this field became new resources for its propaganda.", "subject": "10 inches shellac record; Childhood; Education; Aviation; Sport", "source": "Corriere Musicale Rassegna Fonografica, September 15, 1938", "identifier": "GO 19163", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1160.html" }, { "title": "Inno della Vecchia Guardia", "creator": "Odeon", "date": "1938", "subject": "10 inches shellac record; War; Military; Partito Nazionale Fascista", "source": "Corriere Musicale Rassegna Fonografica, September 15, 1938", "identifier": "GO 19302", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1161.html" }, { "title": "Canto dei Falangisti", "creator": "Odeon", "date": "1938", "subject": "10 inches shellac record; Spanish Civil War; Military; Institution", "source": "Corriere Musicale Rassegna Fonografica, September 15, 1938", "identifier": "GO 19302", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1162.html" }, { "title": "Impero", "creator": "Odeon", "date": "1937", "subject": "10 inches shellac record; Empire", "source": "Corriere Musicale Rassegna Fonografica, September 15, 1937", "identifier": "GO 12981", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1163.html" }, { "title": "Saluto al Duce", "creator": "Odeon", "date": "1937", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271). The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog.", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "source": "Corriere Musicale Rassegna Fonografica, September 15, 1937", "identifier": "GO 12981", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1164.html" }, { "title": "Impero", "creator": "Odeon", "date": "1937", "subject": "10 inches shellac record; Empire", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1937", "identifier": "GO 19019", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1165.html" }, { "title": "Giovinezza", "creator": "Odeon", "date": "1937", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1937", "identifier": "GO 19019", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1166.html" }, { "title": "Faccetta nera", "creator": "Odeon", "date": "1936", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "GO 12525", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1167.html" }, { "title": "Africanella", "creator": "Odeon", "date": "1936", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "GO 12525", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1168.html" }, { "title": "Per la gloria di Roma nel mondo (Orazione di S.E. il Sen. INNOCENZO CAPPA) - Parte I", "creator": "Odeon", "date": "1938 ?", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "12 inches shellac record; Romanità", "identifier": "21003 R", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1169.html" }, { "title": "Per la gloria di Roma nel mondo (Orazione di S.E. il Sen. INNOCENZO CAPPA) - Parte II", "creator": "Odeon", "date": "1938 ?", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "12 inches shellac record; Romanità", "identifier": "21003 R", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1170.html" }, { "title": "Guadalajara (La canzone delle Frecce nere)", "creator": "Odeon", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Spanish Civil War; Military; Institution; Corpo Truppe Volontarie", "source": "Corriere Musicale Rassegna Fonografica, September 15, 1937", "identifier": "GO 12980", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1171.html" }, { "title": "La canzone della vittoria", "creator": "Odeon", "date": "1937", "subject": "10 inches shellac record; Spanish Civil War; Victory", "source": "Corriere Musicale Rassegna Fonografica, September 15, 1937", "identifier": "GO 12980", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1172.html" }, { "title": "Etiopia", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Victory; Empire", "source": "Corriere Musicale Rassegna Fonografica, December 15, 1936", "identifier": "GO 12740", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1173.html" }, { "title": "La marcia delle legioni", "creator": "Odeon", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Empire; Military; Legion; Benito Mussolini", "source": "Corriere Musicale Rassegna Fonografica, December 15, 1936", "identifier": "GO 12740", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1174.html" }, { "title": "Etiopia", "creator": "Odeon", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Victory; Empire", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1937", "identifier": "GO 12754", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1175.html" }, { "title": "Ritorna il legionario ", "creator": "Odeon", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Victory; Empire; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1937", "identifier": "GO 12754", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1176.html" }, { "title": "Faccetta nera", "creator": "Odeon", "date": "1936", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936 (this version), as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Colonisation; Ethiopia; African Women; Empire", "source": "Corriere Musicale Rassegna Fonografica, October 15, 1936", "identifier": "GO 12651", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1177.html" }, { "title": "Inno a Roma", "creator": "Odeon", "date": "1936", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "source": "Corriere Musicale Rassegna Fonografica, October 15, 1936", "identifier": "GO 12651", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1178.html" }, { "title": "Inno a Roma", "creator": "Odeon", "date": "1936", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "GO 12608", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1179.html" }, { "title": "L'Italia ha vinto", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory; Empire", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "GO 12608", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1180.html" }, { "title": "Bandiere al sole (Inno imperiale)", "creator": "Odeon", "date": "1936", "subject": "10 inches shellac record; Empire", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "GO 12595", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1181.html" }, { "title": "Inno dell'Artigliere ", "creator": "Odeon", "date": "1936", "subject": "10 inches shellac record; War", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "GO 12595", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1182.html" }, { "title": "La madonnina degli aviatori", "creator": "Odeon", "date": "1936", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Aviation; Martyr", "identifier": "GO 12530", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1183.html" }, { "title": "I Bersaglieri Neri (\"La Canzone dei Dubat\")", "creator": "Odeon", "date": "1936", "subject": "10 inches shellac record; Military; Institution; Bersaglieri; Colonisation; Somalia; Remembrance; War", "identifier": "GO 12530", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1184.html" }, { "title": "Stornelli neri", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Satire; Haile Selassie", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "GO 12439", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1185.html" }, { "title": "Stornellata abissina", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Satire; Haile Selassie", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "GO 12439", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1186.html" }, { "title": "Coro dei volontari", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is from the movies \" Amo te sola \" and \" All’ombra del Negus \".", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Movie; Mobilisation", "source": "Corriere Musicale Rassegna Fonografica, February 25 - March 25, 1936", "identifier": "GO 12337", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1187.html" }, { "title": "O mia vita", "creator": "Odeon", "date": "1936", "description": "This song is from the movie \"Amo te sola\".", "subject": "10 inches shellac record; Movie", "source": "Corriere Musicale Rassegna Fonografica, February 25 - March 25, 1936", "identifier": "GO 12337", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1188.html" }, { "title": "Faccetta nera", "creator": "Odeon", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; African Women; Empire", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "12442 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1189.html" }, { "title": "Adua", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "12442 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1190.html" }, { "title": "La \"Disperata\"", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The \"Disperata\" was the nickname given to the 15th Caproni bomber squadron during the Ethiopian War. ", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Military; Institution; Aviation; 15ª Squadriglia da bombardamento Caproni", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "12446 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1191.html" }, { "title": "Combattenti a noi !", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is the anthem of the 6th CC.NN. Division \" Tevere \", created especially for the Second Italo-Ethiopian War", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Military; Institution; Division Tevere", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "12446 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1192.html" }, { "title": "Diana d'Italia (Inno dell'Africa Orientale)", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Empire", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "12447 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1193.html" }, { "title": "Inno dei Balilla Moschettieri", "creator": "Odeon", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Military; Opera Nazionale Balilla; Balilla Moschettieri", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "12447 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1194.html" }, { "title": "Cantate di legionari", "creator": "Odeon", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Ethiopia; War; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, March 15, 1937", "identifier": "GO 12822", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1195.html" }, { "title": "Col mazzolin di fiori", "creator": "Odeon", "date": "1937", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "source": "Corriere Musicale Rassegna Fonografica, March 15, 1937", "identifier": "GO 12822", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1196.html" }, { "title": "Ritorna il legionario", "creator": "Odeon", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Ethiopia; War; Military; Legion; Victory", "source": "Corriere Musicale Rassegna Fonografica, July 15, 1937", "identifier": "GO 12939", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1197.html" }, { "title": "Inno dei Balilla Moschettieri", "creator": "Odeon", "date": "1937", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Military; Opera Nazionale Balilla; Balilla Moschettieri", "source": "Corriere Musicale Rassegna Fonografica, July 15, 1937", "identifier": "GO 12939", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1198.html" }, { "title": "La canzone di Maria Uva", "creator": "Odeon", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). Maria Uva, a French national of Italian origin living in Egypt, became famous in Italy and among the soldiers leaving for the Ethiopian war for celebrating and encouraging them on their journey through the Suez Canal. She was nicknamed \"la Madonnina dei legionari\", embodying a protective, maternal figure.", "subject": "10 inches shellac record; Ethiopia; War; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1937", "identifier": "GO 19023", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1199.html" }, { "title": "Canzone di Maria", "creator": "Odeon", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). Maria Uva, a French national of Italian origin living in Egypt, became famous in Italy and among the soldiers leaving for the Ethiopian war for celebrating and encouraging them on their journey through the Suez Canal. She was nicknamed \"la Madonnina dei legionari\", embodying a protective, maternal figure. This song is from the film \" Condottieri \".", "subject": "10 inches shellac record; Ethiopia; War; Military; Legion; Movie", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1937", "identifier": "GO 19023", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1200.html" }, { "title": "Me ne frego", "creator": "Odeon", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; War; Ethiopia; Sanctions; League of Nations; Autarchy", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "12466 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1201.html" }, { "title": "Italia, in piedi !", "creator": "Odeon", "date": "1936", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "12466 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1202.html" }, { "title": "Faccetta nera", "creator": "Odeon", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Colonisation; Ethiopia; African Women; Empire", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "12443 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1203.html" }, { "title": "Adua", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "12443 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1204.html" }, { "title": "Canzoni d'Africa - Parte I (faccetta nera - Africanella - Adua)", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory; African Women", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "12526 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1205.html" }, { "title": "Canzoni d'Africa - Parte II (Coro dei volontari - Macallè - Canzone azzura)", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory; Aviation", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "12526 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1206.html" }, { "title": "Si parte per l’A.O. [Africa Orientale]", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Satire", "identifier": "12566 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1207.html" }, { "title": "In Abissinia (\"Alla barba del Negus\")", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopie; Colonisation; War; Satire; Haile Selassie", "identifier": "12566 GO", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Odeon, Catologo generale, March 1, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1208.html" }, { "title": "Macallè (…Ritorna Galliano !…)", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Martyr; War; Ethiopia; Colonisation; Victory", "source": "Radiocorriere, December 15, 1935", "identifier": "7282", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1209.html" }, { "title": "Adua", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Victory", "source": "Radiocorriere, December 15, 1935", "identifier": "7282", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1210.html" }, { "title": "Vieni a Macallè", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Victory; Empire", "source": "Radiocorriere, December 15, 1935", "identifier": "7284", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1211.html" }, { "title": "Chissà il Negus che cosa dira", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Haile Selassie; Satire", "source": "Radiocorriere, December 15, 1935", "identifier": "7284", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1212.html" }, { "title": "Ci rivedremo… (A Addis Abeba..!)", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Empire", "source": "Radiocorriere, January 19, 1936", "identifier": "7293", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1213.html" }, { "title": "?", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "subject": "10 inches shellac record", "source": "Radiocorriere, January 19, 1936", "identifier": "7293", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1214.html" }, { "title": "Canto dei volontari", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is from the movies \" All’ombra del Negus \" and \" Amo te sola \".", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Movie", "source": "Radiocorriere, January 19, 1936", "identifier": "7312", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1215.html" }, { "title": "O rondinella, camicina nera", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Military; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "source": "Radiocorriere, January 19, 1936", "identifier": "7312", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1216.html" }, { "title": "Faccetta nera", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Radiocorriere, January 19, 1936", "identifier": "7316", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1217.html" }, { "title": "?", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "subject": "10 inches shellac record", "source": "Radiocorriere, January 19, 1936", "identifier": "7316", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1218.html" }, { "title": "Il Caporale dei pompieri", "creator": "Parlophon", "date": "1936", "subject": "10 inches shellac record; Humour", "source": "Radiocorriere, March 8, 1936", "identifier": "GP 91850", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1219.html" }, { "title": "Abissinia", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Radiocorriere, March 8, 1936", "identifier": "GP 91850", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1220.html" }, { "title": "Adua", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "source": "Radiocorriere, November 17, 1935", "identifier": "7267", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1221.html" }, { "title": "?", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "subject": "10 inches shellac record", "source": "Radiocorriere, November 17, 1935", "identifier": "7267", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1222.html" }, { "title": "Stornelli Africani", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "subject": "10 inches shellac record; Colonisation; Ethiopia", "source": "Radiocorriere, October 6, 1935", "identifier": "7230", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1223.html" }, { "title": "Ti saluto !… (vado in Abissinia)", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was launched a few months before the start of the war and can be considered as propaganda material designed to stimulate the consent and mobilisation of the Italian people.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "source": "Radiocorriere, October 6, 1935", "identifier": "7230", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1224.html" }, { "title": "La sagra di Giarabub ", "creator": "Cetra", "date": "1942", "subject": "10 inches shellac record; World War II; Remembrance; Martyr; Colonisation; Libya; United Kingdom", "source": "Radiocorriere, April 26, 1942", "identifier": "IT 1112", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1225.html" }, { "title": "?", "creator": "Cetra", "date": "1942", "subject": "10 inches shellac record", "source": "Radiocorriere, April 26, 1942", "identifier": "IT 1112", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1226.html" }, { "title": "Lili Marleen", "creator": "Cetra", "date": "1942", "description": "A German love song from the late 1930s, \"Lili Marleen\" had no success before the Second World War, and only became a worldwide hit after its outbreak. It was translated into Italian and recorded several times by different record companies between 1941 and 1943. Carlo Ravasio, vice-secretary of the National Fascist Party, helps us to understand not only this success, but also why \"Lili Marleen\" became part of Italian war propaganda. Calling for the composition of new, more popular and effective war songs, he instructed \"that compositional themes must be free, that no programmatic constraints should bind the inspiration of artists, and that the fact of war, instead of being the subject of songs, should only constitute the ‘climate’ of the thoughts and feelings that the songs express (typical example: Lily Marlen)\" (cited in Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 133). A slow, nostalgic song, Lili Marleen has thus taken on the status of a model of the song of the time - that is, of the climate, impressions and atmosphere - of the war. It accompanies the war, and can serve to regulate the feelings of sadness or despondency that the war arouses.", "subject": "10 inches shellac record; World War II; Love", "source": "Radiocorriere, April 26, 1942", "identifier": "IT 1186", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1227.html" }, { "title": "Caro papà", "creator": "Cetra", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Women; Mobilisation; Father", "source": "Radiocorriere, April 26, 1942", "identifier": "IT 1186", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1228.html" }, { "title": "Ninna nanna grigioverde", "creator": "Cetra", "date": "1943", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). This song is from the movie \" L'angelo del crepusculo \".", "subject": "10 inches shellac record; World War II; Military; Movie", "source": "Radiocorriere, January 31, 1943", "identifier": "AA 302", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1229.html" }, { "title": "Tu non mi lascerai", "creator": "Cetra", "date": "1943", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). This song is from the movie \" Voglio vivere così \".", "subject": "10 inches shellac record; World War II; Movie; Love", "source": "Radiocorriere, January 31, 1943", "identifier": "AA 302", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1230.html" }, { "title": "Inno all'Impero", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1938", "description": "Testo tratto dal discorso del Duce del 9 Maggio XIV", "subject": "10 inches shellac record; Empire; Foundation; Memorialization", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1938", "identifier": "7886", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1231.html" }, { "title": "Inno a Roma", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1938", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1938", "identifier": "7886", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1232.html" }, { "title": "Fanfara dei bersaglieri", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1933", "subject": "10 inches shellac record; Military; Institution; Bersaglieri", "source": "Corriere Musicale Rassegna Fonografica, July 15, 1933", "identifier": "6204", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Astoria, Le nostre macchine parlanti, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1233.html" }, { "title": "Giovani Fascisti", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1933", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "10 inches shellac record; Youth; Institution; Giovani Fascisti", "source": "Corriere Musicale Rassegna Fonografica, July 15, 1933", "identifier": "6204", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Astoria, Le nostre macchine parlanti, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1234.html" }, { "title": "Marcia reale italiana", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1934 ?", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Nation; Risorgimento", "identifier": "6004", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Astoria, Le nostre macchine parlanti, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1235.html" }, { "title": "Giovinezza", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1934 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "6004", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Astoria, Le nostre macchine parlanti, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1236.html" }, { "title": "Marcia d'ordinanza del corpo della R. Marina", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1933", "description": "A result of the Risorgimento (the process of Italian unification), the Regia Marina Italiana (Italian Royal Navy) was the military navy of the Kingdom of Italy between 1961 and 1946. On record, its anthem, \"La Ritirata\", is often paired with Fascist hymns (e.g. \"Giovinezza\" or \"Rusticanella\").\n", "subject": "10 inches shellac record; Military; Navy; Institution; Regia Marina Italiana; Risorgimento", "source": "Corriere Musicale Rassegna Fonografica, July 15, 1933", "identifier": "6203", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Astoria, Le nostre macchine parlanti, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1237.html" }, { "title": "Omaggio", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1933", "subject": "10 inches shellac record; Military", "source": "Corriere Musicale Rassegna Fonografica, July 15, 1933", "identifier": "6203", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Astoria, Le nostre macchine parlanti, 1935", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1238.html" }, { "title": "Sveglia tedesca", "creator": "Telefunken", "date": "1938 ?", "description": "During the ventennio, national anthems and other songs representative of a nation are sometimes released on record at a time when the Fascist regime has very good relations, or an alliance, with a foreign nation. Releasing these foreign anthems on record was probably a way of representing these diplomatic relations and cultivating a feeling of sympathy, even closeness, between the peoples of the nations involved.", "subject": "10 inches shellac record; Diplomacy; Germany", "identifier": "A 1431", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Telefunken, Prima raccolta, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1239.html" }, { "title": "Giovinezza", "creator": "Telefunken", "date": "1938 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "A 1431", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Telefunken, Prima raccolta, 1939", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1240.html" }, { "title": "La leggenda del Piave", "creator": "Brunswick", "date": "1931 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "M 1046", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi elettrici Brunswick, Catalogo generale, June, 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1241.html" }, { "title": "La canzone del Grappa ", "creator": "Brunswick", "date": "1931 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "M 1046", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi elettrici Brunswick, Catalogo generale, June, 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1242.html" }, { "title": "Giovinezza", "creator": "Brunswick", "date": "1931 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "M 1358", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi elettrici Brunswick, Catalogo generale, June, 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1243.html" }, { "title": "Marcia reale", "creator": "Brunswick", "date": "1931 ?", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Nation; Monarchy; Risorgimento", "identifier": "M 1358", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi elettrici Brunswick, Catalogo generale, June, 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1244.html" }, { "title": "Giovinezza", "creator": "Brunswick", "date": "1931 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "M 1359", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi elettrici Brunswick, Catalogo generale, June, 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1245.html" }, { "title": "La ritirata (Marcia d'ordinanza della Regia Marina Italiana)", "creator": "Brunswick", "date": "1931 ?", "description": "A result of the Risorgimento (the process of Italian unification), the Regia Marina Italiana (Italian Royal Navy) was the military navy of the Kingdom of Italy between 1961 and 1946. On record, its anthem, \"La Ritirata\", is often paired with Fascist hymns (e.g. \"Giovinezza\" or \"Rusticanella\").", "subject": "10 inches shellac record; Military; Navy; Institution; Regia Marina Italiana; Risorgimento", "identifier": "M 1359", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi elettrici Brunswick, Catalogo generale, June, 1932", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1246.html" }, { "title": "Inno a Roma", "creator": "La Voce del Padrone", "date": "1929", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "identifier": "10011", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi La Voce del Padrone, Catalogo generale, April 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1247.html" }, { "title": "Rusticanella", "creator": "La Voce del Padrone", "date": "1929", "description": "This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "10011", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi La Voce del Padrone, Catalogo generale, April 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1248.html" }, { "title": "Tarantella Imperiale", "creator": "La Voce del Padrone", "date": "1935", "subject": "10 inches shellac record; Ethiopia; Empire; Satire", "identifier": "HN 873", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1249.html" }, { "title": "Cos'è questo, cos'è quello", "creator": "La Voce del Padrone", "date": "1935", "subject": "10 inches shellac record; Sanctions; League of Nations; Satire", "identifier": "HN 873", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1250.html" }, { "title": "Chissà il negus che cosa dirà", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Haile Selassie; Satire; War", "identifier": "HN 842", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1251.html" }, { "title": "Marcetta nera", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "identifier": "HN 842", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1252.html" }, { "title": "Cos'è questo, cos'è quello", "creator": "La Voce del Padrone", "date": "1935", "subject": "10 inches shellac record; Sanctions; League of Nations; Satire", "identifier": "HN 882", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1253.html" }, { "title": "Canzone scema", "creator": "La Voce del Padrone", "date": "1935", "subject": "10 inches shellac record; Satire", "identifier": "HN 882", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1254.html" }, { "title": "Soldato ignoto", "creator": "La Voce del Padrone", "date": "1929 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "R 10052", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1255.html" }, { "title": "La leggenda del Piave", "creator": "La Voce del Padrone", "date": "1929 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "R 10052", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, October 1, 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1256.html" }, { "title": "L'Epopea del Piave - Primo e secondo episodio", "creator": "Columbia", "date": "1922", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "12 inches shellac record; World War I; Remembrance", "identifier": "C.Q.X. 16519", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1933 July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1257.html" }, { "title": "L'Epopea del Piave - Terzo e quarto episodio", "creator": "Columbia", "date": "1922", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "12 inches shellac record; World War I; Remembrance", "identifier": "C.Q.X. 16519", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, December 1933 July 1934", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1258.html" }, { "title": "Canti di Trincea - Parte I: Sul capello; Il testamento del Capitano; Dove sei stato moi bell’alpino; Quel mazzolin di fiori", "creator": "Columbia", "date": "1934", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "DQ 1304", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1259.html" }, { "title": "Canti di Trincea - Parte II: Sul ponte di Bassano; il 29 giugno; Dio del cielo; Le stellette che noi portiamo", "creator": "Columbia", "date": "1934", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "DQ 1304", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1260.html" }, { "title": "Canti di Trincea - Parte III: Monte Nero; Di là dal Piave; La Rosina bella", "creator": "Columbia", "date": "1936", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "DQ 1831", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1261.html" }, { "title": "Canti di Trincea - Parte IV: Come porti i capelli; Ufficiale di picchetto; O macchinista; Era bella come gli Orienti ", "creator": "Columbia", "date": "1936", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "DQ 1831", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1262.html" }, { "title": "Daghela avanti un passo", "creator": "Columbia", "date": "1936", "description": "This recording represents the Opera Nazionale Dopolavoro (OND) or participates in promoting the leisure policy it implements. Created in 1925 by the regime, the OND was aimed at workers, whose unions it intended to replace (the site of an intolerable socialist policy opposed with great violence) and to organize leisure time (\"Dopolavoro\"). By bringing together several thousand workers' associations engaged in a wide range of activities, and directing them in line with Fascist policies, the OND enabled the regime to put down roots in the world of work, organize a significant part of Italians' leisure time by mixing politics and culture, and invest a little more of their private lives. In this way, it contributed to the realization of Fascist totalitarianism (see Victoria De Grazia, \"Dopolavoro\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, pp. 443-447).", "subject": "10 inches shellac record; War; 19th Century; Opera Nazionale Dopolavoro", "identifier": "DQ 1805", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1263.html" }, { "title": "Canto del Fronte (Ta-Pum)", "creator": "Columbia", "date": "1936", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630). This recording represents the Opera Nazionale Dopolavoro (OND) or participates in promoting the leisure policy it implements. Created in 1925 by the regime, the OND was aimed at workers, whose unions it intended to replace (the site of an intolerable socialist policy opposed with great violence) and to organize leisure time (\"Dopolavoro\"). By bringing together several thousand workers' associations engaged in a wide range of activities, and directing them in line with Fascist policies, the OND enabled the regime to put down roots in the world of work, organize a significant part of Italians' leisure time by mixing politics and culture, and invest a little more of their private lives. In this way, it contributed to the realization of Fascist totalitarianism (see Victoria De Grazia, \"Dopolavoro\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, pp. 443-447).", "subject": "10 inches shellac record; World War I; Remembrance; Opera Nazionale Dopolavoro", "identifier": "DQ 1805", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1264.html" }, { "title": "Giovinezza", "creator": "Columbia", "date": "1922", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "D 4876", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia e Cigale, Estratto dal catalogo generale, March 1923", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1265.html" }, { "title": "La leggenda del Piave", "creator": "Columbia", "date": "1922", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "D 4876", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia e Cigale, Estratto dal catalogo generale, March 1923", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1266.html" }, { "title": "Canzone dell'Africa", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "source": "Radiocorriere, October 6, 1935", "identifier": "7226", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1267.html" }, { "title": "Teste di moro (andremo in Africa)", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "source": "Radiocorriere, October 6, 1935", "identifier": "7226", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1268.html" }, { "title": "Faccetta nera", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Radiocorriere, October 6, 1935", "identifier": "7223", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1269.html" }, { "title": "Ti saluto !… (…vado in Abissinia)", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "source": "Radiocorriere, October 6, 1935", "identifier": "7223", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1270.html" }, { "title": "Marcia reale", "creator": "Columbia", "date": "1931", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Nation; Monarchy; Risorgimento", "identifier": "OQ 11594", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1271.html" }, { "title": "Brabançonne (inno belga)", "creator": "Columbia", "date": "1931", "description": "During the ventennio, national anthems and other songs representative of a nation are sometimes released on record at a time when the Fascist regime has very good relations, or an alliance, with a foreign nation. Releasing these foreign anthems on record was probably a way of representing these diplomatic relations and cultivating a feeling of sympathy, even closeness, between the peoples of the nations involved.", "subject": "10 inches shellac record; Diplomacy; Belgium", "identifier": "OQ 11594", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1272.html" }, { "title": "Cara mamma", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "subject": "10 inches shellac record; War; Mother", "source": "Radiocorriere, November 17, 1935", "identifier": "7231", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1273.html" }, { "title": "Amore, amore", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "subject": "10 inches shellac record; Light Music; Love", "source": "Radiocorriere, November 17, 1935", "identifier": "7231", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1274.html" }, { "title": "Va fuori d'Italia… (O prodotto stranier)", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy; Satire", "source": "Radiocorriere, May 24, 1936", "identifier": "7376", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1275.html" }, { "title": "Accampamento ad amba alagi", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "source": "Radiocorriere, May 24, 1936", "identifier": "7376", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1276.html" }, { "title": "In barba alle sanzioni", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; Satire; Autarchy", "source": "Radiocorriere, May 24, 1936", "identifier": "7377", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1277.html" }, { "title": "Sul mercato di Macallè", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Victory; Empire", "source": "Radiocorriere, May 24, 1936", "identifier": "7377", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1278.html" }, { "title": "Marcia Reale", "creator": "Cristallo", "date": "1933", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Nation; Risorgimento", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1933", "identifier": "15340", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1279.html" }, { "title": "Giovinezza", "creator": "Cristallo", "date": "1933", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1933", "identifier": "15340", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1280.html" }, { "title": "La leggenda del Piave", "creator": "Cristallo", "date": "1933", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1933", "identifier": "15341", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1281.html" }, { "title": "La ritirata ", "creator": "Cristallo", "date": "1933", "description": "A result of the Risorgimento (the process of Italian unification), the Regia Marina Italiana (Italian Royal Navy) was the military navy of the Kingdom of Italy between 1961 and 1946. On record, its anthem, \"La Ritirata\", is often paired with Fascist hymns (e.g. \"Giovinezza\" or \"Rusticanella\").", "subject": "10 inches shellac record; Military; Navy; Institution; Regia Marina Italiana; Risorgimento", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1933", "identifier": "15341", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1282.html" }, { "title": "Giovinezza", "creator": "Fonotecnica", "date": "1933", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1933", "identifier": "A. 1604", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1283.html" }, { "title": "La leggenda del Piave", "creator": "Fonotecnica", "date": "1933", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1933", "identifier": "A. 1604", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1284.html" }, { "title": "Principe di Piemonte", "creator": "Fonotecnica", "date": "1933", "subject": "10 inches shellac record; Nation; Monarchy; Risorgimento", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1933", "identifier": "A. 1609", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1285.html" }, { "title": "La ritirata", "creator": "Fonotecnica", "date": "1933", "description": "A result of the Risorgimento (the process of Italian unification), the Regia Marina Italiana (Italian Royal Navy) was the military navy of the Kingdom of Italy between 1961 and 1946. On record, its anthem, \"La Ritirata\", is often paired with Fascist hymns (e.g. \"Giovinezza\" or \"Rusticanella\").", "subject": "10 inches shellac record; Military; Navy; Institution; Regia Marina Italiana; Risorgimento", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1933", "identifier": "A. 1609", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1286.html" }, { "title": "Oro… Oro… Oro", "creator": "Odeon", "date": "1933", "description": "The song comes from \"Camicia sera\", a Fascist propaganda film released to mark the tenth anniversary of the March on Rome, when Benito Mussolini, commissioned by King Vittorio Emanuelle III to form a government, came to power. Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Movie; Partito Nazionale Fascista; Mussolinismo", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1933", "identifier": "GO 17196", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1287.html" }, { "title": "Palude", "creator": "Odeon", "date": "1933", "description": "The song comes from \"Camicia sera\", a Fascist propaganda film released to mark the tenth anniversary of the March on Rome, when Benito Mussolini, commissioned by King Vittorio Emanuelle III to form a government, came to power. Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Movie; Partito Nazionale Fascista; Mussolinismo", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1933", "identifier": "GO 17196", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1288.html" }, { "title": "Oro… Oro… Oro", "creator": "Columbia", "date": "1933", "description": "The song comes from \"Camicia sera\", a Fascist propaganda film released to mark the tenth anniversary of the March on Rome, when Benito Mussolini, commissioned by King Vittorio Emanuelle III to form a government, came to power. Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Movie; Partito Nazionale Fascista; Mussolinismo", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1933", "identifier": "CQ 1296", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1289.html" }, { "title": "Palude", "creator": "Columbia", "date": "1933", "description": "The song comes from \"Camicia sera\", a Fascist propaganda film released to mark the tenth anniversary of the March on Rome, when Benito Mussolini, commissioned by King Vittorio Emanuelle III to form a government, came to power. Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Movie; Partito Nazionale Fascista; Mussolinismo", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1933", "identifier": "CQ 1296", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1290.html" }, { "title": "Bimbe d'Italia", "creator": "Odeon", "date": "1933", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Girls; Piccole Italiane; Opera Nazionale Balilla", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1933", "identifier": "GO 17244", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1291.html" }, { "title": "Giovani Fascisti (Inno Ufficiale)", "creator": "Odeon", "date": "1933", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "10 inches shellac record; Youth; Institution; Giovani Fascisti", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1933", "identifier": "GO 17244", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1292.html" }, { "title": "Canti di Trincea - Parte I: Dove sei stato moi bell’alpino; Sul capello,sul capello; O Dio del cielo", "creator": "Odeon", "date": "1933", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1933", "identifier": "GO 17256", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1293.html" }, { "title": "Canti di Trincea - Parte II: Sul ponte di Bassano; Quel mazzolin di fiori; Il fucile che portiamo", "creator": "Odeon", "date": "1933", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1933", "identifier": "GO 17256", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1294.html" }, { "title": "Canti di Trincea: Sul capello che noi portiamo; Dove sei stato moi bell'alpino; O Dio del cielo", "creator": "Fonotecnica", "date": "1933", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1933", "identifier": "A 2771", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1295.html" }, { "title": "Canti di Trincea: Sul ponte di Bassano; Quel mazzolin di fiori; Il fucile che portiamo", "creator": "Fonotecnica", "date": "1933", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1933", "identifier": "A 2771", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1296.html" }, { "title": "La leggenda del Piave", "creator": "Excelsius (Fonografia Nazionale)", "date": "1933", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1933", "identifier": "T. 6827", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1297.html" }, { "title": "La canzone del Grappa ", "creator": "Excelsius (Fonografia Nazionale)", "date": "1933", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1933", "identifier": "T. 6827", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1298.html" }, { "title": "Marcia reale italiana", "creator": "Excelsius (Fonografia Nazionale)", "date": "1933", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Nation; Monarchy; Risorgimento", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1933", "identifier": "S. 6828", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1299.html" }, { "title": "Giovinezza", "creator": "Excelsius (Fonografia Nazionale)", "date": "1933", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1933", "identifier": "S. 6828", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1300.html" }, { "title": "Canti di Soldati : Parte I: A rapporto signor Capitano; O Dio del cielo (se fossi una rondinella); Quel nazzolin di fiori… ", "creator": "Excelsius (Fonografia Nazionale)", "date": "1933", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1933", "identifier": "S. 6805", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1301.html" }, { "title": "Canti di Soildati, Parte II: Sul capello che noi portiamo; Dove sei stato moi bell'alpino; Ed il fucile che noi portiamo", "creator": "Excelsius (Fonografia Nazionale)", "date": "1933", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1933", "identifier": "S. 6805", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1302.html" }, { "title": "Balilla ! (Inno ufficiale dei fanciulli fascisti)", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1933", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "source": "Corriere Musicale Rassegna Fonografica, July 15, 1933", "identifier": "6199", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1303.html" }, { "title": "Vattene bella, vattene a dormire", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1933", "subject": "10 inches shellac record; Childhood; Education; Light Music", "source": "Corriere Musicale Rassegna Fonografica, July 15, 1933", "identifier": "6199", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1304.html" }, { "title": "Giovinezza", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1933", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "source": "Corriere Musicale Rassegna Fonografica, July 15, 1933", "identifier": "6200", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1305.html" }, { "title": "La leggenda del Piave", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1933", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "source": "Corriere Musicale Rassegna Fonografica, July 15, 1933", "identifier": "6200", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1306.html" }, { "title": "Balilla", "creator": "La Voce del Padrone", "date": "1933", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "source": "Corriere Musicale Rassegna Fonografica, October 15, 1933", "identifier": "GW 154", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1307.html" }, { "title": "Soldatini, siam piccini", "creator": "La Voce del Padrone", "date": "1933", "subject": "10 inches shellac record; Childhood; Education; War", "source": "Corriere Musicale Rassegna Fonografica, October 15, 1933", "identifier": "GW 154", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1308.html" }, { "title": "Inno a Roma", "creator": "Excelsius (Fonografia Nazionale)", "date": "1933", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1933", "identifier": "6914", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1309.html" }, { "title": "Giovinezza", "creator": "Excelsius (Fonografia Nazionale)", "date": "1933", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1933", "identifier": "6914", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1310.html" }, { "title": "Balilla ! (Inno ufficiale dei Balilla)", "creator": "Excelsius (Fonografia Nazionale)", "date": "1933", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1933", "identifier": "6915", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1311.html" }, { "title": "La fanfara dei Bersaglieri", "creator": "Excelsius (Fonografia Nazionale)", "date": "1933", "subject": "10 inches shellac record; Military; Institution; Bersaglieri", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1933", "identifier": "6915", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1312.html" }, { "title": "La Romagna (Inno al Duce)", "creator": "La Voce del Padrone", "date": "1934", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo", "source": "Corriere Musicale Rassegna Fonografica, March 15, 1934", "identifier": "GW 1265", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1313.html" }, { "title": "La nostra orchestra", "creator": "La Voce del Padrone", "date": "1934", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, March 15, 1934", "identifier": "GW 1265", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1314.html" }, { "title": "La leggenda del Carabiniere", "creator": "La Voce del Padrone", "date": "1934", "description": "Singer Gino Pastori is alleged to be 12 at the time of this recording.", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla; Carabiniere", "source": "Corriere Musicale Rassegna Fonografica, February 15 - March 15, 1935", "identifier": "GW 357", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1315.html" }, { "title": "Freccia d'oro", "creator": "La Voce del Padrone", "date": "1934", "description": "Singer Gino Pastori is alleged to be 12 at the time of this recording.", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Girls; Piccole Italiane; Giovani Italiane; Opera Nazionale Balilla", "source": "Corriere Musicale Rassegna Fonografica, February 15 - March 15, 1935", "identifier": "GW 357", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1316.html" }, { "title": "Giovinezza", "creator": "Odeon", "date": "1935", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "source": "Corriere Musicale Rassegna Fonografica, February 15 - March 15, 1935", "identifier": "GO 18947", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1317.html" }, { "title": "Balilla (Inno dei fanciulli fascisti)", "creator": "Odeon", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "source": "Corriere Musicale Rassegna Fonografica, February 15 - March 15, 1935", "identifier": "GO 18947", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1318.html" }, { "title": "Pasione Italica (Marcia militare)", "creator": "La Voce del Padrone", "date": "1935", "subject": "10 inches shellac record; Nation; Military", "source": "Corriere Musicale Rassegna Fonografica, September 25 - October 25, 1935", "identifier": "GW 1053", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1319.html" }, { "title": "Soldato Italiano, Soldato Eroico", "creator": "La Voce del Padrone", "date": "1935", "subject": "10 inches shellac record; War; Heroism", "source": "Corriere Musicale Rassegna Fonografica, September 25 - October 25, 1935", "identifier": "GW 1053", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1320.html" }, { "title": "Dani", "creator": "La Voce del Padrone", "date": "1935", "subject": "10 inches shellac record; Satire", "source": "Corriere Musicale Rassegna Fonografica, September 25 - October 25, 1935", "identifier": "HN 808", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1321.html" }, { "title": "Nell'Africa si va", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Colonisation; Ethiopia; War", "source": "Corriere Musicale Rassegna Fonografica, September 25 - October 25, 1935", "identifier": "HN 808", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1322.html" }, { "title": "Facetta nera (La Canzione della Divsione \"Tevere\")", "creator": "Cristallo", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, September 25 - October 25, 1935", "identifier": "15528", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1323.html" }, { "title": "Pellegrino che venghi a Roma", "creator": "Cristallo", "date": "1935", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Romanità", "source": "Corriere Musicale Rassegna Fonografica, September 25 - October 25, 1935", "identifier": "15528", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1324.html" }, { "title": "Faccetta nera", "creator": "La Voce del Padrone", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "HN 839", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1325.html" }, { "title": "Angelamaria ", "creator": "La Voce del Padrone", "date": "1935", "subject": "10 inches shellac record;", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "HN 839", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1326.html" }, { "title": "Faccetta nera", "creator": "Excelsius (Fonografia Nazionale)", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "MA 7194", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1327.html" }, { "title": "Ti saluto !… (…vado in Abissinia) ", "creator": "Excelsius (Fonografia Nazionale)", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was launched a few months before the start of the war and can be considered as propaganda material designed to stimulate the consent and mobilisation of the Italian people.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "MA 7194", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1328.html" }, { "title": "Africanella", "creator": "Excelsius (Fonografia Nazionale)", "date": "1935", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "MA 7195", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1329.html" }, { "title": "La canzone dell'Africa", "creator": "Excelsius (Fonografia Nazionale)", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "MA 7195", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1330.html" }, { "title": "Africanella", "creator": "Excelsius (Fonografia Nazionale)", "date": "1935", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "MA 7201", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1331.html" }, { "title": "Camicia Garibaldina", "creator": "Excelsius (Fonografia Nazionale)", "date": "1935", "subject": "10 inches shellac record; Nation: Risorgimento", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "MA 7201", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1332.html" }, { "title": "Faccetta nera", "creator": "Excelsius (Fonografia Nazionale)", "date": "1935", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "SE 7203", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1333.html" }, { "title": "Africanella ", "creator": "Excelsius (Fonografia Nazionale)", "date": "1935", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "SE 7203", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1334.html" }, { "title": "Faccetta nera", "creator": "Excelsius (Fonografia Nazionale)", "date": "1935", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "MA 7200", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1335.html" }, { "title": "Per te sarò tenente", "creator": "Excelsius (Fonografia Nazionale)", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Corriere Musicale Rassegna Fonografica, October 25 - November 25, 1935", "identifier": "MA 7200", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1336.html" }, { "title": "Chi era Balilla", "creator": "Odeon", "date": "1935", "description": "This song is from the show \"Balilla per il mondo\"", "subject": "10 inches shellac record; Childhood; Education; Institution; Opera Nazionale Balilla", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "GO 12414", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1337.html" }, { "title": "I ragazzi di una volta", "creator": "Odeon", "date": "1935", "description": "This song is from the show \"Balilla per il mondo\"", "subject": "10 inches shellac record; Childhood; Education; Institution; Opera Nazionale Balilla", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "GO 12414", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1338.html" }, { "title": "Il bottone del legionario", "creator": "Odeon", "date": "1935", "description": "The main subjects of this recording are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "GO 12412", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1339.html" }, { "title": "L'assemblea dei piedi nudi", "creator": "Odeon", "date": "1935", "description": "(scena comica)", "subject": "10 inches shellac record; Ethiopia; Colonisation; Satire; Haile Selassie", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "GO 12412", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1340.html" }, { "title": "Faccetta nera", "creator": "Columbia", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "DQ 1690", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1341.html" }, { "title": "Addio Rosina bella", "creator": "Columbia", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "DQ 1690", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1342.html" }, { "title": "Addio Rosina bella", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "HN 852", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1343.html" }, { "title": "Nonna-nonna all'amore", "creator": "La Voce del Padrone", "date": "1935", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "HN 852", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1344.html" }, { "title": "Adua", "creator": "Cristallo", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "15536", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1345.html" }, { "title": "Macallè", "creator": "Cristallo", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "15536", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1346.html" }, { "title": "Ti saluto, vado in Africa", "creator": "Cristallo", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "15535", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1347.html" }, { "title": "Avanti sempre", "creator": "Cristallo", "date": "1935", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy ", "source": "Corriere Musicale Rassegna Fonografica, November 25 - December 25, 1935", "identifier": "15535", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1348.html" }, { "title": "Piscatore Napulitano", "creator": "Columbia", "date": "1935", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "DQ 1695", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1349.html" }, { "title": "Addio Rosina bella", "creator": "Columbia", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "DQ 1695", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1350.html" }, { "title": "Il minatore", "creator": "Odeon", "date": "1935", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Ethiopia; War; Sanctions; League of Nations", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "GO 12444", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1351.html" }, { "title": "Ti manderò una cartolina", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Military; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "GO 12444", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1352.html" }, { "title": "Amici !?", "creator": "Odeon", "date": "1935", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Satire; Sanctions; League of Nations", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "GO 12445", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1353.html" }, { "title": "Avanti sempre", "creator": "Odeon", "date": "1935", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy ", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "GO 12445", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1354.html" }, { "title": "Rataplan delle camicie nere", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Military; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "GO 12440", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1355.html" }, { "title": "Chissà il negus che cosa dirà", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Haile Selassie; Satire; War", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "GO 12440", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1356.html" }, { "title": "Noi tireremo diritto", "creator": "Odeon", "date": "1935", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy ", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "GO 12441", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1357.html" }, { "title": "Non piangere biondina", "creator": "Odeon", "date": "1935", "subject": "10 inches shellac record; War; Love", "source": "Corriere Musicale Rassegna Fonografica, December 25 - January 25, 1936", "identifier": "GO 12441", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1358.html" }, { "title": "Carovane del Tigrai", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "GO 12487", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1359.html" }, { "title": "Amici !?", "creator": "Odeon", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Satire; Sanctions; League of Nations", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "GO 12487", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1360.html" }, { "title": "Coro dei volontari", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is from the movie \" Amo te sola \".", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Movie; Mobilisation", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "GO 12465", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1361.html" }, { "title": "Vieni a Macallè", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Victory; Empire", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "GO 12465", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1362.html" }, { "title": "Serenata a Sellassiè", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilization; Satire; Haile Selassie", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "GO 12482", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1363.html" }, { "title": "Nonna-nonna all'amore", "creator": "Odeon", "date": "1936", "subject": "10 inches shellac record; Light Music; Love", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "GO 12482", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1364.html" }, { "title": "Canzone azzura", "creator": "Odeon", "date": "1936", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Aviation", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "GO 12475", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1365.html" }, { "title": "Ki Ki Bu", "creator": "Odeon", "date": "1936", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "GO 12475", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1366.html" }, { "title": "Marcetta nera", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "GO 12481", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1367.html" }, { "title": "La canzone delle sanzioni", "creator": "Odeon", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "GO 12481", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1368.html" }, { "title": "Etiopia nostra", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "GO 12484", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1369.html" }, { "title": "Faccetta nera", "creator": "Odeon", "date": "1936", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "GO 12484", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1370.html" }, { "title": "Canzone azzura", "creator": "Odeon", "date": "1936", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Aviation", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "GO 12467", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1371.html" }, { "title": "Africanella", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "GO 12467", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1372.html" }, { "title": "Faccetta nera", "creator": "La Voce del Padrone", "date": "1936", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "HN 929", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1373.html" }, { "title": "Canto dei volontari", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is from the movies \" All’ombra del Negus \" and \" Amo te sola \".", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Movie", "source": "Corriere Musicale Rassegna Fonografica, January 25 - February 25, 1936", "identifier": "HN 929", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1374.html" }, { "title": "E' finito il bel tempo che fu", "creator": "Odeon", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Ethiopia; War; Sanctions; League of Nations; Autarchy; Satire", "source": "Corriere Musicale Rassegna Fonografica, February 25 - March 25, 1936", "identifier": "GO 12518", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1375.html" }, { "title": "Carovane del Tigrai", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "source": "Corriere Musicale Rassegna Fonografica, February 25 - March 25, 1936", "identifier": "GO 12518", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1376.html" }, { "title": "Sotto le stelle del Tigrai", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Corriere Musicale Rassegna Fonografica, February 25 - March 25, 1936", "identifier": "GO 12510", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1377.html" }, { "title": "O rondinella, camicina nera", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Military; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "source": "Corriere Musicale Rassegna Fonografica, February 25 - March 25, 1936", "identifier": "GO 12510", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1378.html" }, { "title": "Er sor capanna in Abissinia", "creator": "Odeon", "date": "1936", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Corriere Musicale Rassegna Fonografica, February 25 - March 25, 1936", "identifier": "GO 12493", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1379.html" }, { "title": "Povero Negus", "creator": "Odeon", "date": "1936", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Satire; Haile Selassie", "source": "Corriere Musicale Rassegna Fonografica, February 25 - March 25, 1936", "identifier": "GO 12493", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1380.html" }, { "title": "Carovane del Tigrai", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "source": "Corriere Musicale Rassegna Fonografica, February 25 - March 25, 1936", "identifier": "GO 12507", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1381.html" }, { "title": "Fiore del Tigrai", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "source": "Corriere Musicale Rassegna Fonografica, February 25 - March 25, 1936", "identifier": "GO 12507", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1382.html" }, { "title": "Va fuori d'Italia… (O prodotto stranier)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy; Satire", "source": "Corriere Musicale Rassegna Fonografica, February 25 - March 25, 1936", "identifier": "DQ 1783", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1383.html" }, { "title": "Sanzionami questo", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy; Satire ", "source": "Corriere Musicale Rassegna Fonografica, February 25 - March 25, 1936", "identifier": "DQ 1783", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1384.html" }, { "title": "Va fuori d'Italia… (O prodotto stranier) ", "creator": "Odeon", "date": "1936", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy; Satire", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "GO 12527", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1385.html" }, { "title": "Tevere (inno ufficiale della Divisione Tevere)", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; War; Colonisation; Military; Institution; Division Tevere", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "GO 12527", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1386.html" }, { "title": "La madonnina degli aviatori", "creator": "Odeon", "date": "1936", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Aviation; Martyr", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "GO 12530", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1387.html" }, { "title": "I Bersaglieri Neri - \"La Canzone dei Dubat\"", "creator": "Odeon", "date": "1936", "subject": "10 inches shellac record; Military; Institution; Bersaglieri; Colonisation; Somalia; Remembrance; War", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "GO 12530", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1388.html" }, { "title": "Amba Alagi", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Victory; Martyr", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "MA 7295", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1389.html" }, { "title": "Indietro non si torna", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). ", "subject": "10 inches shellac record; War; Ethiopia; Colonisation", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "MA 7295", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1390.html" }, { "title": "Carovane del Tigrai", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "MA 7296", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1391.html" }, { "title": "Ci rivedremo… (A Addis Abeba..!)", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "MA 7296", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1392.html" }, { "title": "Carovane del Tigrai", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "SE 7297", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1393.html" }, { "title": "Indietro non si torna", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). ", "subject": "10 inches shellac record; War; Ethiopia; Colonisation", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "SE 7297", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1394.html" }, { "title": "Ti manderò una cartolina", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Military; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "MA 7290", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1395.html" }, { "title": "Il minatore", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; War; Sanctions; League of Nations", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "MA 7290", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1396.html" }, { "title": "Amba Alagi", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Martyr; War; Ethiopia; Colonisation; Victory ", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "HN 946", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1397.html" }, { "title": "Italia in piedi", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; War", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "HN 946", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1398.html" }, { "title": "Sotto le stelle del Tigrai", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "HN 948", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1399.html" }, { "title": "Morettina", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; African Women", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "HN 948", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1400.html" }, { "title": "Africanella (1894)", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Remembrance", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "HN 949", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1401.html" }, { "title": "Oro !", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; Partito Nazionale Fascista", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "HN 949", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1402.html" }, { "title": "Cioccolattino", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "DQ 1795", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1403.html" }, { "title": "Amba Alagi ", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Martyr; War; Ethiopia; Colonisation; Victory", "source": "Corriere Musicale Rassegna Fonografica, March 25 - April 25, 1936", "identifier": "DQ 1795", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1404.html" }, { "title": "Aspettiamo domani", "creator": "Odeon", "date": "1936", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "GO 12582", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1405.html" }, { "title": "La canzone del volontario", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Mobilisation", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "GO 12582", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1406.html" }, { "title": "Sul lago Tana", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Martyr; Love", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "GO 12574", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1407.html" }, { "title": "Ci rivedremo… (A Addis Abeba..!)", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Victory", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "GO 12574", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1408.html" }, { "title": "L'Italia ha vinto", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory; Empire", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "MA 7319", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1409.html" }, { "title": "E canta l'ascaro ! \"quel dolce ritornel\"", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Colonisation; Africa; Military; Ascari; African Women", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "MA 7319", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1410.html" }, { "title": "La canzone d'Addis Abeba", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "MA 7320", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1411.html" }, { "title": "Sul lago Tana", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Martyr; Love", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "MA 7320", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1412.html" }, { "title": "Ci rivedremo… (A Addis Abeba..!)", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Victory", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "MA 7321", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1413.html" }, { "title": "Inno a Macallé", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Victory", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "MA 7321", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1414.html" }, { "title": "Stornelli antisanzionisti - Parte I", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Ethiopia; War; Sanctions; League of Nations; Autarchy", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "MA 7316", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1415.html" }, { "title": "Stornelli antisanzionisti - Parte II", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Ethiopia; War; Sanctions; League of Nations; Autarchy", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "MA 7316", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1416.html" }, { "title": "Quell'uom dal fiero aspetto", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; Satire", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "DQ 1836", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1417.html" }, { "title": "Le sanzioni che effeto ti fanno ?", "creator": "Columbia", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Satire; Ethiopia; War; Sanctions; League of Nations; Autarchy", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "DQ 1836", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1418.html" }, { "title": "Radio Addis Abeba - Parte I", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "DQ 1863", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1419.html" }, { "title": "Radio Addis Abeba - Parte II", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "DQ 1863", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1420.html" }, { "title": "Strofette negussiane", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Satire; Haile Selassie", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "DQ 1855", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1421.html" }, { "title": "Davanti al Pretor", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; Satire", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "DQ 1855", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1422.html" }, { "title": "La fanculla di Macallè", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "DQ 1853", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1423.html" }, { "title": "Trieste mia", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; Town", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "DQ 1853", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1424.html" }, { "title": "Pot-pourri’ di canzoni A.O. parte I : Faccetta nera; Ti saluto, vado in Abissinia; Avanti sempre; Addio Rosina bella; Cioccolatina; Macallè; La canzone dei volontari", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Victory; African Women; Mobilisation", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "DQ 1876", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1425.html" }, { "title": "Pot-pourri’ di canzoni A.O. porte II : Carovane del Tigrai; Adua; In Africa si va; Rondinella, camicia nera; Africa nostra; Faccetta nera", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Victory; African Women", "source": "Corriere Musicale Rassegna Fonografica, May 25 - June 25, 1936", "identifier": "DQ 1876", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1426.html" }, { "title": "Tarantella Imperiale", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Empire; Satire", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "DQ 1887", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1427.html" }, { "title": "Cos'è questo, cos'è quello (canti del momento)", "creator": "Columbia", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; Satire", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "DQ 1887", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1428.html" }, { "title": "Madonnina bionda", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; Light Music; Love", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "DQ 1868", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1429.html" }, { "title": "Canzone azzura", "creator": "Columbia", "date": "1936", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Aviation", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "DQ 1868", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1430.html" }, { "title": "Sul lago Tana", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Martyr; Love", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "DQ 1899", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1431.html" }, { "title": "Per una volta", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; Light Music; Love", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "DQ 1899", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1432.html" }, { "title": "Accampamento di Dubat (pezzo caratteristico)", "creator": "La Voce del Padrone", "date": "1936", "description": "The colony of Italian Somalia was created in 1889 and maintained until 1941, after being integrated into Italian East Africa, created in 1936 after Ethiopia's military defeat by Fascist Italy. It imposed a regime of discrimination, forced labor and educational deprivation on the indigenous population. ", "subject": "10 inches shellac record; Colonisation; Italian Somalia; Remembrance; War", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "GW 1220", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1433.html" }, { "title": "Canti d'Africa (le tappe gloriose da Adua ad Amba Alagi)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory; Martyr", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "GW 1220", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1434.html" }, { "title": "La marcia delle legioni", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Mussolinismo; Military; Legion; Empire", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "MA 7323", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1435.html" }, { "title": "Inno a Roma", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "MA 7323", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1436.html" }, { "title": "La marcia delle legioni (inno imperiale) ", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Mussolinismo; Military; Legion; Empire", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "MA 7325", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1437.html" }, { "title": "Inno a Roma", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "MA 7325", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1438.html" }, { "title": "Te chiami Italia", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "MA 7328", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1439.html" }, { "title": "Rondinella messaggera", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "MA 7328", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1440.html" }, { "title": "Vittoria !", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "MA 7326", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1441.html" }, { "title": "Non pianger bella", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "subject": "10 inches shellac record; War; Love", "source": "Corriere Musicale Rassegna Fonografica, June 25 - July 25, 1936", "identifier": "MA 7326", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1442.html" }, { "title": "C'era una volta il Negus", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Satire; Haile Selassie", "source": "Corriere Musicale Rassegna Fonografica, July 25 - August 25, 1936", "identifier": "GO 12626", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1443.html" }, { "title": "Soldato del lavoro", "creator": "Odeon", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Work; War; Ethiopia; Sanctions; League of Nations; Autarchy", "source": "Corriere Musicale Rassegna Fonografica, July 25 - August 25, 1936", "identifier": "GO 12626", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1444.html" }, { "title": "Ritorna amore", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; Light Music; Love", "source": "Corriere Musicale Rassegna Fonografica, July 25 - August 25, 1936", "identifier": "HN 1042", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1445.html" }, { "title": "Sordato del lavoro", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Work; War; Ethiopia; Sanctions; League of Nations; Autarchy", "source": "Corriere Musicale Rassegna Fonografica, July 25 - August 25, 1936", "identifier": "HN 1042", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1446.html" }, { "title": "Te chiami Italia !", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Corriere Musicale Rassegna Fonografica, July 25 - August 25, 1936", "identifier": "HN 1047", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1447.html" }, { "title": "Vola… Vola… core di mamma", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; Light Music; Mother", "source": "Corriere Musicale Rassegna Fonografica, July 25 - August 25, 1936", "identifier": "HN 1047", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1448.html" }, { "title": "Sul lago Tana ", "creator": "Cristallo", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Martyr; Love", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "15568", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1449.html" }, { "title": "Amba Alagi", "creator": "Cristallo", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Victory; Martyr", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "15568", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1450.html" }, { "title": "Si fa quel che si può", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; Satire", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "HN 1030", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1451.html" }, { "title": "Sul lago Tana", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Martyr; Love", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "HN 1030", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1452.html" }, { "title": "Abbiamo qualcosa", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Satire; Sanctions; League of Nations; Autarchy", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "HN 1011", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1453.html" }, { "title": "Me ne imPippo", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; Light Music; Love", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "HN 1011", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1454.html" }, { "title": "Pizzicanno (strofette)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "HN 1029", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1455.html" }, { "title": "Cara Nannina (Letterina coloniale)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "HN 1029", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1456.html" }, { "title": "Oilì, Ooila (tarantella abissina)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "HN 1007", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1457.html" }, { "title": "Spagnolesca", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "HN 1007", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1458.html" }, { "title": "Giramela pé quelli ", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "GW 1245", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1459.html" }, { "title": "Stornellata coloniale (stornelli romani)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Haile Selassie; Satire", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "GW 1245", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1460.html" }, { "title": "Sul lago Tana", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Martyr; Love", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "SE 7348", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1461.html" }, { "title": "Ah, Willi !", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "SE 7348", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1462.html" }, { "title": "I canti degli Alpini : Oh Dio del cielo; Sul cappello; Dove sei stato", "creator": "Odeon", "date": "1936", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630). This recording represents the Opera Nazionale Dopolavoro (OND) or participates in promoting the leisure policy it implements. Created in 1925 by the regime, the OND was aimed at workers, whose unions it intended to replace (the site of an intolerable socialist policy opposed with great violence) and to organize leisure time (\"Dopolavoro\"). By bringing together several thousand workers' associations engaged in a wide range of activities, and directing them in line with Fascist policies, the OND enabled the regime to put down roots in the world of work, organize a significant part of Italians' leisure time by mixing politics and culture, and invest a little more of their private lives. In this way, it contributed to the realization of Fascist totalitarianism (see Victoria De Grazia, \"Dopolavoro\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, pp. 443-447).", "subject": "10 inches shellac record; Military; Institution; Alpini; World War I; Remembrance; Opera Nazionale Dopolavoro", "source": "Corriere Musicale Rassegna Fonografica, October 15, 1936", "identifier": "GO 12680", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1463.html" }, { "title": "Canto del Fronte (Ta-Pum)", "creator": "Odeon", "date": "1936", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630). This recording represents the Opera Nazionale Dopolavoro (OND) or participates in promoting the leisure policy it implements. Created in 1925 by the regime, the OND was aimed at workers, whose unions it intended to replace (the site of an intolerable socialist policy opposed with great violence) and to organize leisure time (\"Dopolavoro\"). By bringing together several thousand workers' associations engaged in a wide range of activities, and directing them in line with Fascist policies, the OND enabled the regime to put down roots in the world of work, organize a significant part of Italians' leisure time by mixing politics and culture, and invest a little more of their private lives. In this way, it contributed to the realization of Fascist totalitarianism (see Victoria De Grazia, \"Dopolavoro\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, pp. 443-447).", "subject": "10 inches shellac record; World War I; Remembrance; Opera Nazionale Dopolavoro", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "GO 12680", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1464.html" }, { "title": "Napoli allegra !", "creator": "Odeon", "date": "1936", "subject": "10 inches shellac record; Naples; Town", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "GO 12650", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1465.html" }, { "title": "Ritorna il legionario", "creator": "Odeon", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Victory; Empire; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "GO 12650", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1466.html" }, { "title": "Sul lago Tana", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Martyr; Love", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "GO 12663", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1467.html" }, { "title": "Bella bimba d'oltremare", "creator": "Odeon", "date": "1936", "subject": "10 inches shellac record; Ethiopia; Colonisation; African Women", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "GO 12663", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1468.html" }, { "title": "Sul lago Tana", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Martyr; Love", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "DQ 1913", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1469.html" }, { "title": "Colombina", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, September 10, 1936", "identifier": "DQ 1913", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1470.html" }, { "title": "Din, Don, Dèlla (La Leggenda del Negus)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Haile Selassie; Satire", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1936", "identifier": "HN 1012", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1471.html" }, { "title": "La canzone di tutti gli addii", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1936", "identifier": "HN 1012", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1472.html" }, { "title": "Faccetta nera", "creator": "La Voce del Padrone", "date": "1936", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936 (this version), as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Colonisation; Empire; War; African Women", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1936", "identifier": "HN 1111", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1473.html" }, { "title": "Ritorna il legionario", "creator": "La Voce del Padrone", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Victory; Empire; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1936", "identifier": "HN 1111", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1474.html" }, { "title": "Ritorna il legionario", "creator": "La Voce del Padrone", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Victory; Empire; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1936", "identifier": "HN 1113", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1475.html" }, { "title": "La canzone dell’Impero (L’Italia in marcia)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Victory; Empire", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1936", "identifier": "HN 1113", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1476.html" }, { "title": "Sul lago Tana", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Martyr; Love", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1936", "identifier": "HN 1115", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1477.html" }, { "title": "La carovane del Tigraï", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1936", "identifier": "HN 1115", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1478.html" }, { "title": "Canzone allineata (Mottetti di attualità)", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; Satire", "source": "Corriere Musicale Rassegna Fonografica, December 15, 1936", "identifier": "DQ 2152", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1479.html" }, { "title": "Donne e mariti (tiritera… internazionale)", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; Satire; Diplomacy", "source": "Corriere Musicale Rassegna Fonografica, December 15, 1936", "identifier": "DQ 2152", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1480.html" }, { "title": "Ritorna il legionario", "creator": "Durium", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Victory; Empire; Military; Legion; Single-sided cardboard disc", "source": "Corriere Musicale Rassegna Fonografica, December 15, 1936", "identifier": "L 5194", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1481.html" }, { "title": "Inno imperiale (Marcia delle legioni)", "creator": "Durium", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Mussolinismo; Military; Legion; Empire; Single-sided cardboard disc", "source": "Corriere Musicale Rassegna Fonografica, December 15, 1936", "identifier": "L 5195", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1482.html" }, { "title": "Addis Abeba : Nuovo Fiore", "creator": "Cristallo", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1937", "identifier": "15598", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1483.html" }, { "title": "Attacca Maestro", "creator": "Cristallo", "date": "1937", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1937", "identifier": "15598", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1484.html" }, { "title": "Cantate di legionari ", "creator": "Columbia", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Victory; Empire; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1937", "identifier": "DQ 2260", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1485.html" }, { "title": "Ritorna il legionario", "creator": "Columbia", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Victory; Empire; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1937", "identifier": "DQ 2260", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1486.html" }, { "title": "Un giorno ti dirò ", "creator": "Columbia", "date": "1937", "subject": "8 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1937", "identifier": "G.Q.U. 202", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1487.html" }, { "title": "Sul lago Tana", "creator": "Columbia", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "8 inches shellac record; War; Ethiopia; Colonisation; Martyr; Love", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1937", "identifier": "G.Q.U. 202", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1488.html" }, { "title": "Canti di Soldati - Parte I : A rapporto signor Capitano; O Dio del cielo (se fossi una rondinella); Quel mazzolin di fiori… ", "creator": "Excelsius (Fonografia Nazionale)", "date": "1937", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1937", "identifier": "V 9556", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1489.html" }, { "title": "Canti di Soldati - Parte II : Sul capello che noi portiamo; Dove sei stato moi bell'alpino; Ed il fucile che noin portiamo", "creator": "Excelsius (Fonografia Nazionale)", "date": "1937", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1937", "identifier": "V 9556", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1490.html" }, { "title": "Cantate di legionari ", "creator": "Excelsius (Fonografia Nazionale)", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Victory; Empire; Legion", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1937", "identifier": "MA 7468", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1491.html" }, { "title": "Te chiami Italia", "creator": "Excelsius (Fonografia Nazionale)", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1937", "identifier": "MA 7468", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1492.html" }, { "title": "Ritorna il legionario", "creator": "Cristallo", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Victory; Empire; Legion", "source": "Corriere Musicale Rassegna Fonografica, July 15, 1937", "identifier": "15612", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1493.html" }, { "title": "Cantate di legionari", "creator": "Cristallo", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Military; Legion; War", "source": "Corriere Musicale Rassegna Fonografica, July 15, 1937", "identifier": "15612", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1494.html" }, { "title": "Frecce nere", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1937", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Institution; Corpo Truppe Volontarie", "source": "Corriere Musicale Rassegna Fonografica, October 15, 1937", "identifier": "7715", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1495.html" }, { "title": "Baciami (come sai baciare tu !)", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1937", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, October 15, 1937", "identifier": "7715", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1496.html" }, { "title": "La canzone di Maria Uva", "creator": "Parlophon ", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). Maria Uva, a French national of Italian origin living in Egypt, became famous in Italy and among the soldiers leaving for the Ethiopian war for celebrating and encouraging them on their journey through the Suez Canal. She was nicknamed \"la Madonnina dei legionari\", embodying a protective, maternal figure.", "subject": "10 inches shellac record; Ethopia; War; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, October 15, 1937", "identifier": "GP 92272", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1497.html" }, { "title": "Viola", "creator": "Parlophon ", "date": "1937", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, October 15, 1937", "identifier": "GP 92272", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1498.html" }, { "title": "Cantate di legionari ", "creator": "Excelsius (Fonografia Nazionale)", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1937", "identifier": "V 9923", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1499.html" }, { "title": "Etiopia", "creator": "Excelsius (Fonografia Nazionale)", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1937", "identifier": "V 9923", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1500.html" }, { "title": "Balde Frecce Nere !", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1937", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Institution; Corpo Truppe Volontarie", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1937", "identifier": "7749", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1501.html" }, { "title": "Avanti, Falangisti !", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1937", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Institution", "source": "Corriere Musicale Rassegna Fonografica, November 15, 1937", "identifier": "7749", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1502.html" }, { "title": "Canzone dei \"Sorci Verdi\"", "creator": "Durium", "date": "1938", "description": "I Sorci Verdi refers to a famous Italian team of military aviators to which Bruno Mussolini, son of Benito Mussolini, belonged. These aviators were considered national heroes not only for their sporting achievements, but also because they embodied Italian excellence in aviation, a field whose development was supported by the Fascist regime. At the time, aviation represented the power and modernity of technical progress, and the successes that Fascist Italy could achieve in this field became new resources for its propaganda.", "subject": "10 inches shellac record; Aviation; Sport; Single-sided cardboard disc", "source": "Corriere Musicale Rassegna Fonografica, March 15, 1938", "identifier": "L 5294", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1503.html" }, { "title": "I \"Sorci Verdi\"", "creator": "Durium", "date": "1938", "description": "I Sorci Verdi refers to a famous Italian team of military aviators to which Bruno Mussolini, son of Benito Mussolini, belonged. These aviators were considered national heroes not only for their sporting achievements, but also because they embodied Italian excellence in aviation, a field whose development was supported by the Fascist regime. At the time, aviation represented the power and modernity of technical progress, and the successes that Fascist Italy could achieve in this field became new resources for its propaganda.", "subject": "10 inches shellac record; Aviation; Sport; Single-sided cardboard disc", "source": "Corriere Musicale Rassegna Fonografica, March 15, 1938", "identifier": "L 5295", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1504.html" }, { "title": "Canzone dei \"Sorci Verdi\"", "creator": "Odeon", "date": "1938", "description": "I Sorci Verdi refers to a famous Italian team of military aviators to which Bruno Mussolini, son of Benito Mussolini, belonged. These aviators were considered national heroes not only for their sporting achievements, but also because they embodied Italian excellence in aviation, a field whose development was supported by the Fascist regime. At the time, aviation represented the power and modernity of technical progress, and the successes that Fascist Italy could achieve in this field became new resources for its propaganda.", "subject": "10 inches shellac record; Aviation; Sport", "source": "Corriere Musicale Rassegna Fonografica, March 15, 1938", "identifier": "GO 19166", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1505.html" }, { "title": "Forse solo tu", "creator": "Odeon", "date": "1938", "description": "This song is from the movie \"Chi è più felice di me ?\"", "subject": "10 inches shellac record; Light Music; Movie", "source": "Corriere Musicale Rassegna Fonografica, March 15, 1938", "identifier": "GO 19166", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1506.html" }, { "title": "Canzone dei \"Sorci Verdi\"", "creator": "Excelsius (Fonografia Nazionale)", "date": "1938", "description": "I Sorci Verdi refers to a famous Italian team of military aviators to which Bruno Mussolini, son of Benito Mussolini, belonged. These aviators were considered national heroes not only for their sporting achievements, but also because they embodied Italian excellence in aviation, a field whose development was supported by the Fascist regime. At the time, aviation represented the power and modernity of technical progress, and the successes that Fascist Italy could achieve in this field became new resources for its propaganda.", "subject": "10 inches shellac record; Aviation; Sport", "source": "Corriere Musicale Rassegna Fonografica, March 15, 1938", "identifier": "MA 7653", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1507.html" }, { "title": "L'ho sentito (dalla nonna)", "creator": "Excelsius (Fonografia Nazionale)", "date": "1938", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, March 15, 1938", "identifier": "MA 7653", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1508.html" }, { "title": "Canta che ti passa (fox. Film \"L'allegro cantante\")", "creator": "La Voce del Padrone", "date": "1938", "description": "This song is from the movie \"L'allegro cantante\".", "subject": "10 inches shellac record; Light Music; Movie", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1938", "identifier": "HN 1373", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1509.html" }, { "title": "La canzone dei \"Sorci Verdi\"", "creator": "La Voce del Padrone", "date": "1938", "description": "I Sorci Verdi refers to a famous Italian team of military aviators to which Bruno Mussolini, son of Benito Mussolini, belonged. These aviators were considered national heroes not only for their sporting achievements, but also because they embodied Italian excellence in aviation, a field whose development was supported by the Fascist regime. At the time, aviation represented the power and modernity of technical progress, and the successes that Fascist Italy could achieve in this field became new resources for its propaganda.", "subject": "10 inches shellac record; Aviation; Sport", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1938", "identifier": "HN 1373", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1510.html" }, { "title": "La canzone dei \"Sorci Verdi\"", "creator": "La Voce del Padrone", "date": "1938", "description": "I Sorci Verdi refers to a famous Italian team of military aviators to which Bruno Mussolini, son of Benito Mussolini, belonged. These aviators were considered national heroes not only for their sporting achievements, but also because they embodied Italian excellence in aviation, a field whose development was supported by the Fascist regime. At the time, aviation represented the power and modernity of technical progress, and the successes that Fascist Italy could achieve in this field became new resources for its propaganda.", "subject": "10 inches shellac record; Aviation; Sport", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1938", "identifier": "GW 1504", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1511.html" }, { "title": "Piccole gioie", "creator": "La Voce del Padrone", "date": "1938", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1938", "identifier": "GW 1504", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1512.html" }, { "title": "Canzone dei sorci verdi", "creator": "Excelsius (Fonografia Nazionale)", "date": "1938", "description": "I Sorci Verdi refers to a famous Italian team of military aviators to which Bruno Mussolini, son of Benito Mussolini, belonged. These aviators were considered national heroes not only for their sporting achievements, but also because they embodied Italian excellence in aviation, a field whose development was supported by the Fascist regime. At the time, aviation represented the power and modernity of technical progress, and the successes that Fascist Italy could achieve in this field became new resources for its propaganda.", "subject": "10 inches shellac record; Aviation; Sport", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1938", "identifier": "V 9971", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1513.html" }, { "title": "Guitarrera", "creator": "Excelsius (Fonografia Nazionale)", "date": "1938", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1938", "identifier": "V 9971", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1514.html" }, { "title": "Canzone dei Sorci Verdi", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1938", "description": "I Sorci Verdi refers to a famous Italian team of military aviators to which Bruno Mussolini, son of Benito Mussolini, belonged. These aviators were considered national heroes not only for their sporting achievements, but also because they embodied Italian excellence in aviation, a field whose development was supported by the Fascist regime. At the time, aviation represented the power and modernity of technical progress, and the successes that Fascist Italy could achieve in this field became new resources for its propaganda.", "subject": "10 inches shellac record; Aviation; Sport", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1938", "identifier": "7828", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1515.html" }, { "title": "Mi piange il cuore", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1938", "subject": "10 inches shellac record; Love", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1938", "identifier": "7828", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1516.html" }, { "title": "I \"sorci verdi\"", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1938", "description": "I Sorci Verdi refers to a famous Italian team of military aviators to which Bruno Mussolini, son of Benito Mussolini, belonged. These aviators were considered national heroes not only for their sporting achievements, but also because they embodied Italian excellence in aviation, a field whose development was supported by the Fascist regime. At the time, aviation represented the power and modernity of technical progress, and the successes that Fascist Italy could achieve in this field became new resources for its propaganda. This recording begins with the sounds of an aircraft engine.", "subject": "10 inches shellac record; Aviation; Sport", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1938", "identifier": "7833", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1517.html" }, { "title": "La fiera di Porta Genova", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1938", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, April 15, 1938", "identifier": "7833", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1518.html" }, { "title": "Inno all'Impero", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1938", "subject": "10 inches shellac record; Empire; Foundation; Memorialization", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1938", "identifier": "7887", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1519.html" }, { "title": "Fanfara dei bersaglieri", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1938", "subject": "10 inches shellac record; Military, War, Institution", "source": "Corriere Musicale Rassegna Fonografica, June 15, 1938", "identifier": "7887", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1520.html" }, { "title": "A su Duce Italianu", "creator": "La Voce del Padrone", "date": "1939", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Sardinia; Mussolinismo", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1939", "identifier": "HN 1533", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1521.html" }, { "title": "Sa ninna nanna de su Campidanu", "creator": "La Voce del Padrone", "date": "1939", "subject": "10 inches shellac record; Childhood; Sardinia", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1939", "identifier": "HN 1533", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1522.html" }, { "title": "Marcia reale; Canto della Massaia", "creator": "Odeon", "date": "1939", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Nation", "source": "Corriere Musicale Rassegna Fonografica, March 15, 1939", "identifier": "GO 19539", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1523.html" }, { "title": "Inno a Roma", "creator": "Odeon", "date": "1939", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "source": "Corriere Musicale Rassegna Fonografica, March 15, 1939", "identifier": "GO 19539", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1524.html" }, { "title": "Il canto dei Dopolavoristi", "creator": "Odeon", "date": "1939", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271). This recording represents the Opera Nazionale Dopolavoro (OND) or participates in promoting the leisure policy it implements. Created in 1925 by the regime, the OND was aimed at workers, whose unions it intended to replace (the site of an intolerable socialist policy opposed with great violence) and to organize leisure time (\"Dopolavoro\"). By bringing together several thousand workers' associations engaged in a wide range of activities, and directing them in line with Fascist policies, the OND enabled the regime to put down roots in the world of work, organize a significant part of Italians' leisure time by mixing politics and culture, and invest a little more of their private lives. In this way, it contributed to the realization of Fascist totalitarianism (see Victoria De Grazia, \"Dopolavoro\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, pp. 443-447).", "subject": "10 inches shellac record; Childhood; Education; Leisure; Institution: Opera Nazionale Dopolavoro", "source": "Corriere Musicale Rassegna Fonografica, March 15, 1939", "identifier": "GO 19540", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1525.html" }, { "title": "Passa la Gil !", "creator": "Odeon", "date": "1939", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Children; Gioventù Italiana del Littorio", "source": "Corriere Musicale Rassegna Fonografica, March 15, 1939", "identifier": "GO 19540", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1526.html" }, { "title": "Principe di Napoli", "creator": "Fonotecnica", "date": "1939", "subject": "10 inches shellac record; Military; Nation; Monarchy; Risorgimento", "source": "Corriere Musicale Rassegna Fonografica, April 8, 1939", "identifier": "A 1611", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1527.html" }, { "title": "I sorci verdi", "creator": "Fonotecnica", "date": "1939", "description": "I Sorci Verdi refers to a famous Italian team of military aviators to which Bruno Mussolini, son of Benito Mussolini, belonged. These aviators were considered national heroes not only for their sporting achievements, but also because they embodied Italian excellence in aviation, a field whose development was supported by the Fascist regime. At the time, aviation represented the power and modernity of technical progress, and the successes that Fascist Italy could achieve in this field became new resources for its propaganda.", "subject": "10 inches shellac record; Aviation; Sport", "source": "Corriere Musicale Rassegna Fonografica, April 8, 1939", "identifier": "A 1611", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1528.html" }, { "title": "Inno dei Giovani fascisti", "creator": "Fonotecnica", "date": "1939", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "10 inches shellac record; Youth; Institution; Giovani Fascisti", "source": "Corriere Musicale Rassegna Fonografica, April 8, 1939", "identifier": "A 1617", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1529.html" }, { "title": "Inno degli studenti universitari", "creator": "Fonotecnica", "date": "1939", "description": "This recording represents fascist university and student organizations.", "subject": "10 inches shellac record; Youth; Institution; Studenti Universitari Fascisti", "source": "Corriere Musicale Rassegna Fonografica, April 8, 1939", "identifier": "A 1617", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1530.html" }, { "title": "Inno dei Balilla", "creator": "Fonotecnica", "date": "1939", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "source": "Corriere Musicale Rassegna Fonografica, April 8, 1939", "identifier": "A 1620", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1531.html" }, { "title": "Marcia delle Legioni ", "creator": "Fonotecnica", "date": "1939", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Military; Legion; Empire", "source": "Corriere Musicale Rassegna Fonografica, April 8, 1939", "identifier": "A 1620", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1532.html" }, { "title": "Fanfara e marcia Reale", "creator": "La Voce del Padrone", "date": "1939", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Monarchy; Nation; Risorgimento", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "GW 1657", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1533.html" }, { "title": "La leggenda del Piave", "creator": "La Voce del Padrone", "date": "1939", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "GW 1657", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1534.html" }, { "title": "Saluto al Duce ! (Inno ufficiale dei Balilla)", "creator": "Excelsius (Fonografia Nazionale)", "date": "1939", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "MA 7896", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1535.html" }, { "title": "Ritornano gli eroi", "creator": "Excelsius (Fonografia Nazionale)", "date": "1939", "subject": "10 inches shellac record; War", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "MA 7896", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1536.html" }, { "title": "Arriba España (inno dei Legionari fascisti in Spagna)", "creator": "Odeon", "date": "1939", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "GO 19636", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1537.html" }, { "title": "Cara al sol (inno della Phalange Spagnola, I.O.N.S.)", "creator": "Odeon", "date": "1939", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Institution; Juntas de Ofensiva Nacional-Sindicalista", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "GO 19636", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1538.html" }, { "title": "Arriba España", "creator": "Odeon", "date": "1939", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "GO 19637", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1539.html" }, { "title": "Inno imperiale", "creator": "Odeon", "date": "1939", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Mussolinismo; Military; Legion; Empire", "source": "Corriere Musicale Rassegna Fonografica, May 15, 1939", "identifier": "GO 19637", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1540.html" }, { "title": "O medico delle anime, curami col tuo balsamo Parte I - melodia \"El Hussein\"", "creator": "Parlophon ", "date": "1939", "subject": "12 inches shellac record; Colonisation; Libya; Folklore", "source": "Corriere Musicale Rassegna Fonografica, September 1939", "identifier": "PE 74", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1541.html" }, { "title": "O medico delle anime, curami col tuo balsamo Parte II - melodia \"El Hussein\"", "creator": "Parlophon ", "date": "1939", "subject": "12 inches shellac record; Colonisation; Libya; Folklore", "source": "Corriere Musicale Rassegna Fonografica, September 1939", "identifier": "PE 74", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1542.html" }, { "title": "I Legionari tornaro", "creator": "Odeon", "date": "1939", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, September 1939", "identifier": "GO 19717", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1543.html" }, { "title": "Arriba España (inno dei Legionari fascisti in Spagna)", "creator": "Odeon", "date": "1939", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Legion", "source": "Corriere Musicale Rassegna Fonografica, September 1939", "identifier": "GO 19717", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1544.html" }, { "title": "Marcia Granadiera (inno a Franco)", "creator": "Odeon", "date": "1939", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Francisco Franco", "source": "Corriere Musicale Rassegna Fonografica, October 15, 1939", "identifier": "GO 19749", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1545.html" }, { "title": "Inno della Phalange Spagnola - I.O.N.S. ", "creator": "Odeon", "date": "1939", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Institution; Juntas de Ofensiva Nacional-Sindicalista", "source": "Corriere Musicale Rassegna Fonografica, October 15, 1939", "identifier": "GO 19749", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1546.html" }, { "title": "Giovinezza", "creator": "Odeon", "date": "1940", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1940", "identifier": "GO 19811", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1547.html" }, { "title": "La festa del villagio", "creator": "Odeon", "date": "1940", "subject": "10 inches shellac record; Light Music", "source": "Corriere Musicale Rassegna Fonografica, January 15, 1940", "identifier": "GO 19811", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1548.html" }, { "title": "Non pianger, no !", "creator": "Parlophon ", "date": "1940", "description": "This record was published for the Opera nazionale Maternità e Infanzia", "subject": "10 inches shellac record; Childhood; Mother; Women; Opera nazionale Maternità e Infanzia", "source": "Corriere Musicale Rassegna Fonografica, February 15, 1940", "identifier": "GP 93024", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1549.html" }, { "title": "Stai vicino a me", "creator": "Parlophon ", "date": "1940", "description": "This record was published for the Opera nazionale Maternità e Infanzia", "subject": "10 inches shellac record; Childhood; Mother; Women; Opera nazionale Maternità e Infanzia", "source": "Corriere Musicale Rassegna Fonografica, February 15, 1940", "identifier": "GP 93024", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1550.html" }, { "title": "Serenata a Sellassiè", "creator": "La Voce del Padrone", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation; Satire; Haile Sellassie", "identifier": "HN 908", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1551.html" }, { "title": "La borsetta di Titinà", "creator": "La Voce del Padrone", "date": "1935", "subject": "10 inches shellac record; Light Music", "identifier": "HN 908", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1936", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1552.html" }, { "title": "Giovinezza", "creator": "Columbia", "date": "1923", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "D 4960", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia e Cigale, Estratto dal catalogo generale, March 1923", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1553.html" }, { "title": "Eja ! Eja ! ALALA'", "creator": "Columbia", "date": "1923", "subject": "10 inches shellac record; Partito Nazionale Fascista", "identifier": "D 4960", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia e Cigale, Estratto dal catalogo generale, March 1923", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1554.html" }, { "title": "Il discorso di Benito Mussolini a Milano nel primo anniversario della Marcia su Roma", "creator": "Columbia", "date": "1926 ?", "subject": "10 inches shellac record; Benito Mussolini", "identifier": "D 5079", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1555.html" }, { "title": "All'armi !", "creator": "Columbia", "date": "1926 ?", "description": "The song \"All'armi\" was used as the hymn of the National Fascist Party when it was founded in November 1921. It glorifies the extreme violence carried out by the squadrists against the Fascists' political opponents, particularly the Communists, at the turn of the 1920s. The song Giovinezza, also used as the new party's anthem, finally became its official hymn in 1924, with a new lyrics by Salvatore Gotta.", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence", "identifier": "D 5079", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, April 1929", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1556.html" }, { "title": "La ninna nanna dei Balilla", "creator": "Columbia", "date": "1931", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "D 11518", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1557.html" }, { "title": "Stornelli romani (d'amore)", "creator": "Columbia", "date": "1931", "subject": "10 inches shellac record; Traditional; Love", "identifier": "D 11518", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi Columbia, Catalogo generale, July-December 1931", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1558.html" }, { "title": "Gli eroi della nostra guerra (Sintesi musicale futurista in 2 parti) - Parte I", "creator": "Columbia", "date": "1942", "subject": "10 inches shellac record; World War II; Futurism", "identifier": "DQ 3661", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Columbia, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1559.html" }, { "title": "Gli eroi della nostra guerra (Sintesi musicale futurista in 2 parti) - Parte II", "creator": "Columbia", "date": "1942", "subject": "10 inches shellac record; World War II; Futurism", "identifier": "DQ 3661", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Columbia, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1560.html" }, { "title": "Ninna nanna grigioverde", "creator": "Columbia", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). This song is from the movie \" L'angelo del crepusculo \".", "subject": "10 inches shellac record; World War II; Movie; military", "identifier": "DQ 3664", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Columbia, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1561.html" }, { "title": "Tenerezza", "creator": "Columbia", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). This song is from the movie \" Vertigine \".", "subject": "10 inches shellac record; World War II; Movie; Love", "identifier": "DQ 3664", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Columbia, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1562.html" }, { "title": "Rondinella azzura", "creator": "Columbia", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Nation", "identifier": "DQ 3794", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Columbia, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1563.html" }, { "title": "La madonnina dei soldati", "creator": "Columbia", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Military; Women", "identifier": "DQ 3794", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Columbia, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1564.html" }, { "title": "La marcia contra l'Inghilterra (Vinceremo, vinceremo)", "creator": "Columbia", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; United Kingdom", "identifier": "DQ 3782", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Columbia, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1565.html" }, { "title": "Fante d'Italia", "creator": "Columbia", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Military", "identifier": "DQ 3782", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Columbia, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1566.html" }, { "title": "La canzone dell'aviatore", "creator": "Columbia", "date": "1942", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict or the Second World War were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; World War II; Aviation", "identifier": "DQ 3783", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Columbia, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1567.html" }, { "title": "Armi e spighe (dal documentario \"Grano tra due battaglie\")", "creator": "Columbia", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II", "identifier": "DQ 3783", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Columbia, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1568.html" }, { "title": "Arditi Camerati", "creator": "Columbia", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II", "identifier": "D 15500", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Columbia, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1569.html" }, { "title": "Carri armati", "creator": "Columbia", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II", "identifier": "D 15500", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Columbia, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1570.html" }, { "title": "Africa Orientale", "creator": "Columbia", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Colonisation; Empire; Ethiopia; Somalia", "identifier": "D 15501", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Columbia, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1571.html" }, { "title": "Somalia", "creator": "Columbia", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Colonisation; Empire; Somalia", "identifier": "D 15501", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Columbia, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1572.html" }, { "title": "A noi", "creator": "La Voce del Padrone", "date": "1925", "subject": "10 inches shellac record; Partito Nazionale Fascista", "identifier": "R 6835", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi La Voce del Padrone, Catalogo generale, December 1, 1925", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1573.html" }, { "title": "Fiamme nere", "creator": "La Voce del Padrone", "date": "1925", "subject": "10 inches shellac record; Partito Nazionale Fascista", "identifier": "R 6835", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi La Voce del Padrone, Catalogo generale, December 1, 1925", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1574.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1922", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "R 6799", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi La Voce del Padrone, Catalogo generale, December 1, 1925", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1575.html" }, { "title": "All'armi", "creator": "La Voce del Padrone", "date": "1922", "description": "The song \"All'armi\" was used as the hymn of the National Fascist Party when it was founded in November 1921. It glorifies the extreme violence carried out by the squadrists against the Fascists' political opponents, particularly the Communists, at the turn of the 1920s. The song Giovinezza, also used as the new party's anthem, finally became its official hymn in 1924, with a new lyrics by Salvatore Gotta.", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence", "identifier": "R 6799", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Dischi La Voce del Padrone, Catalogo generale, December 1, 1925", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1576.html" }, { "title": "Il Condotierro - Inno degli squadristi ", "creator": "Odeon / Fonotipia", "date": "1930", "description": "This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "7360 O", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Macchine parlante dischi, 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1577.html" }, { "title": "Giovinezza", "creator": "Odeon / Fonotipia", "date": "1930", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "7360 O", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Macchine parlante dischi, 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1578.html" }, { "title": "Giovinezza", "creator": "Odeon / Fonotipia", "date": "1930", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "7361 O", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Macchine parlante dischi, 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1579.html" }, { "title": "Inno Savoia", "creator": "Odeon / Fonotipia", "date": "1930", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Italian Irredentism", "identifier": "7361 O", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Odeon Fonotipia, Macchine parlante dischi, 1930", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1580.html" }, { "title": "Saluto al compagno", "creator": "La Voce del Padrone", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II", "identifier": "HN 1923", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Nuovi Dischi, September 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1581.html" }, { "title": "Sentinella dell'Impero", "creator": "La Voce del Padrone", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Empire", "identifier": "HN 1923", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Nuovi Dischi, September 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1582.html" }, { "title": "Senza più parlare (dallo spettacolo Macario : \"Primavera di donne\") ", "creator": "La Voce del Padrone", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Light Music", "identifier": "HN 1925", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Nuovi Dischi, September 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1583.html" }, { "title": "Dalmatia redenta", "creator": "La Voce del Padrone", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Italian Irredentism", "identifier": "HN 1925", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Nuovi Dischi, September 1941", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1584.html" }, { "title": "O Malta", "creator": "La Voce del Padrone", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Italian Irredentism", "identifier": "HN 1792", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Nuovi Dischi, September 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1585.html" }, { "title": "Corsicanella", "creator": "La Voce del Padrone", "date": "1940", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Italian Irredentism", "identifier": "HN 1792", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Nuovi Dischi, September 1940", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1586.html" }, { "title": "Marcia della Vittoria", "creator": "La Voce del Padrone", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Victory; Empire", "identifier": "HN 2014", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1587.html" }, { "title": "Marinaio d'Italia", "creator": "La Voce del Padrone", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Navy", "identifier": "HN 2014", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1588.html" }, { "title": "Bombe sull’Inghilterra (Bomben auf Engelland)", "creator": "La Voce del Padrone", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; United Kingdom; Germany", "identifier": "HN 2015", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1589.html" }, { "title": "Inno dell'Asse (Achsenlied)", "creator": "La Voce del Padrone", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). During the ventennio, national anthems and other songs representative of a nation are sometimes released on record at a time when the Fascist regime has very good relations, or an alliance, with a foreign nation. Releasing these foreign anthems on record was probably a way of representing these diplomatic relations and cultivating a feeling of sympathy, even closeness, between the peoples of the nations involved.", "subject": "10 inches shellac record; World War II; Diplomacy; Germany; Japan; Axis", "identifier": "HN 2015", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1590.html" }, { "title": "La grande ora (canto eroico)", "creator": "La Voce del Padrone", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; World War II; Mussolinismo", "identifier": "HN 2060", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1591.html" }, { "title": "Battaglioni \"M\"", "creator": "La Voce del Padrone", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; World War II; Military; Institution; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "HN 2060", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1592.html" }, { "title": "Inno Giapponese; Inno Albanese", "creator": "La Voce del Padrone", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Alliance; Occupation", "identifier": "AV 500", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1593.html" }, { "title": "Inno Romeno; Inno Ungherese", "creator": "La Voce del Padrone", "date": "1942", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). During the ventennio, national anthems and other songs representative of a nation are sometimes released on record at a time when the Fascist regime has very good relations, or an alliance, with a foreign nation. Releasing these foreign anthems on record was probably a way of representing these diplomatic relations and cultivating a feeling of sympathy, even closeness, between the peoples of the nations involved.", "subject": "10 inches shellac record; World War II; Alliance; Diplomacy", "identifier": "AV 500", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "La Voce del Padrone, Catalogo dischi, January 1, 1943", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1594.html" }, { "title": "Frecce nere", "creator": "Phono Electro", "date": "1938", "subject": "10 inches shellac record; Spanish Civil War; Military; Legion; Institution; Corpo Truppe Volontarie", "identifier": "7790", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1595.html" }, { "title": "Spagnolita", "creator": "Phono Electro", "date": "1938", "subject": "10 inches shellac record; Spanish Civil War; Francisco Franco", "identifier": "7791", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1596.html" }, { "title": "Topolino Balilla", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; Childhood; Opera Nazionale Balilla", "identifier": "DQ 1579", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1597.html" }, { "title": "Topolino soldato", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; Childhood; Ethiopia; War; Colonisation", "identifier": "DQ 1579", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "PALMA Daniele, 2020, \"\"Bebè racconta la guerra\". Propaganda fascista e dischi per bambini (1920-1930)\", Palaver, vol. 9, n° 1, p. 35-74. https://doi.org/10.1285/i22804250v9i1p35", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1598.html" }, { "title": "Il giuramento di Balilla", "creator": "La Voce del Padrone", "date": "1935 ?", "subject": "10 inches shellac record; Childhood; Humour; Opera Nazionale Balilla", "identifier": "GW 1116", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1599.html" }, { "title": "Il compleanno del nonno", "creator": "La Voce del Padrone", "date": "1935 ?", "subject": "10 inches shellac record; Childhood; Humour", "identifier": "GW 1116", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1600.html" }, { "title": "Balilla !", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935 ?", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "7273", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1601.html" }, { "title": "All'armi ! A noi, fascisti !", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935 ?", "description": "The song \"All'armi\" was used as the hymn of the National Fascist Party when it was founded in November 1921. It glorifies the extreme violence carried out by the squadrists against the Fascists' political opponents, particularly the Communists, at the turn of the 1920s. The song Giovinezza, also used as the new party's anthem, finally became its official hymn in 1924, with a new lyrics by Salvatore Gotta.", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence", "identifier": "7273", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1602.html" }, { "title": "Balilla", "creator": "Odeon", "date": "1926 ?", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "O 83371", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1603.html" }, { "title": "Al vessillo tricolore", "creator": "Odeon", "date": "1926 ?", "subject": "10 inches shellac record; Nation", "identifier": "O 83371", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1604.html" }, { "title": "Carovane del Tigrai", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "7327", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1605.html" }, { "title": "Il mondo gira e se va (stornelli d’attualità)", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "identifier": "7327", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1606.html" }, { "title": "O rondinella, camicina nera", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Military; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "HN 973", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1607.html" }, { "title": "Faccetta bianca (Addio el Bersagliere d’Africa)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Women", "identifier": "HN 973", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1608.html" }, { "title": "Si dice di no", "creator": "Columbia", "date": "1934", "subject": "10 inches shellac record; Light Music", "identifier": "DQ 774", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1609.html" }, { "title": "Littoria", "creator": "Columbia", "date": "1934", "description": "Littoria (now Latina) is a city built by the Fascist regime from June 1932, and inaugurated by Benito Mussolini in December 1932. It is located in the former Pontine marshes south of Rome, which Mussolini had drained in 1928 as part of his \"Battle of the Grain\" (Battaglia del grano) agricultural production policy. Built in a territory that had been \" reclaimed ‘ (Bonifica), i.e. transformed to achieve a policy objective, Littoria was used by Fascist propaganda as an example of the success of one of the regime's ’great works\".", "subject": "10 inches shellac record; Littoria; Town", "identifier": "DQ 774", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1610.html" }, { "title": "Giovinezza", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Institution; Partito Nazionale Fascista; Youth", "identifier": "7367", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1611.html" }, { "title": "Marcia reale", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936 ?", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism.", "subject": "10 inches shellac record; Nation; Monarchy; Risorgimento", "identifier": "7367", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1612.html" }, { "title": "Addio biondina", "creator": "Parlophon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; War; Love", "identifier": "91640", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1613.html" }, { "title": "Bambolita", "creator": "Parlophon", "date": "1935", "subject": "10 inches shellac record; Light Music; Love", "identifier": "91640", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1614.html" }, { "title": "Adesso viene il bello : canzonetta di primavera", "creator": "Odeon", "date": "1940 ?", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Victory; Italian Somalia; Egypt; United Kingdom; Axis", "identifier": "GO 20295", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1615.html" }, { "title": "La canzone del fante : un mazzolino di fiori", "creator": "Odeon", "date": "1940 ?", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Military", "identifier": "GO 20295", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1616.html" }, { "title": "La leggenda del Piave", "creator": "La Voce del Padrone", "date": "1933 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "HN 313", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1617.html" }, { "title": "Soldato ignoto", "creator": "La Voce del Padrone", "date": "1933 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "HN 313", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1618.html" }, { "title": "Faccetta nera", "creator": "La Voce del Padrone", "date": "1936", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; African Women", "identifier": "HN 945", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1619.html" }, { "title": "Canto dei volontari", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is from the movies \" All’ombra del Negus \" and \" Amo te sola \".", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Movie", "identifier": "HN 945", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1620.html" }, { "title": "Africanella", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is from the movies \" All’ombra del Negus \" and \" Amo te sola \".", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "identifier": "7221", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1621.html" }, { "title": "Pellegrino che venghi a Roma", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Romanità", "identifier": "7221", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1622.html" }, { "title": "E' finito il bel tempo che fu", "creator": "Fonotecnica", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Ethiopia; War; Sanctions; League of Nations; Autarchy; Satire", "identifier": "A 2950", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1623.html" }, { "title": "Valzer della fisarmonica", "creator": "Fonotecnica", "date": "1936", "subject": "10 inches shellac record; Light Music", "identifier": "A 2947", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1624.html" }, { "title": "Amba Alagi", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Martyr; War; Ethiopia; Colonisation; Victory", "identifier": "A 2948", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1625.html" }, { "title": "Carovane del Tigrai", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "A 2949", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1626.html" }, { "title": "Faccetta nera", "creator": "Cristallo", "date": "1936", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "identifier": "15556", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1627.html" }, { "title": "Gagliardetti al sole", "creator": "Cristallo", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; War; Sanctions; League of Nations; Autarchy; Satire", "identifier": "15556", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1628.html" }, { "title": "Faccetta nera", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935 ?", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "identifier": "7275", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1629.html" }, { "title": "Rusticanella", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935 ?", "description": "This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "7275", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1630.html" }, { "title": "Etiopia nostra", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "identifier": "GO 12491", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1631.html" }, { "title": "Daghela avanti un passo", "creator": "Odeon", "date": "1935", "subject": "10 inches shellac record; War; 19th Century", "identifier": "GO 12491", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1632.html" }, { "title": "Etiopia", "creator": "Fonotecnica", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "A 4017", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1633.html" }, { "title": "La canzone della vittoria", "creator": "Fonotecnica", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "A 4016", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1634.html" }, { "title": "Fiore del Tigrai", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "7332", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1635.html" }, { "title": "Floretera", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "subject": "10 inches shellac record; Light Music", "identifier": "7332", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1636.html" }, { "title": "Legionari d’Africa", "creator": "Odeon", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Legion", "identifier": "GO 12565", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1637.html" }, { "title": "Partono le squadriglie", "creator": "Odeon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Mobilisation", "identifier": "GO 12565", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1638.html" }, { "title": "Inno a Roma", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936 ?", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Romanità; Town", "identifier": "7366", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1639.html" }, { "title": "Il carme secolare di Orazio (Primo inno del popolo Italiano, A. 17 avanti Cristo", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936 ?", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Nation; Romanità", "identifier": "7366", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1640.html" }, { "title": "Marcia delle Legioni (Roma rivendica l’Impero)", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935 ?", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Military; Legion; Empire", "identifier": "7271", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1641.html" }, { "title": "Giovani fascisti", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935 ?", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "10 inches shellac record; Youth; Institution; Giovani Fascisti", "identifier": "7271", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1642.html" }, { "title": "Topolino in Abissinia", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Childhood; Ethiopia; War; Colonisation", "identifier": "DQ 1580", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1643.html" }, { "title": "Topolino alla guerra ", "creator": "Columbia", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Childhood; Ethiopia; War; Colonisation", "identifier": "DQ 1580", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1644.html" }, { "title": "Sul lago Tana", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Martyr; Love", "identifier": "A 2967", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1645.html" }, { "title": "Addis Abeba", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation", "identifier": "A 2968", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1646.html" }, { "title": "Sul lago Tana", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1937 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Martyr; Love", "identifier": "7417", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1647.html" }, { "title": "L'Italia ha vinto", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1937 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Victory; Empire", "identifier": "7417", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1648.html" }, { "title": "Sul lago Tana", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1937 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Martyr; Love", "identifier": "7418", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1649.html" }, { "title": "Stornellata tricolore", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1937 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; War; Ethiopia; Nation", "identifier": "7418", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1650.html" }, { "title": "Carovane del Tigrai", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "GP 91942", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1651.html" }, { "title": "Dolce è la notte", "creator": "Parlophon", "date": "1936", "description": "This song is from the movie \" Il Mago del Jazz \" ", "subject": "10 inches shellac record; Light Music; Movie", "identifier": "GP 91942", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1652.html" }, { "title": "Carovane del Tigrai", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "7327", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1653.html" }, { "title": "Il mondo gira e se va (stornelli d’attualità)", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; War; Ethiopia; Colonisation", "identifier": "7327", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1654.html" }, { "title": "Giovinezza", "creator": "Parlophon", "date": "1930", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "B 27015", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1655.html" }, { "title": "Marcia reale", "creator": "Parlophon", "date": "1930", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism. This recording is part of a record presented in a section of its publisher's catalog dedicated to educative records, probably suitable for use in schools. ", "subject": "10 inches shellac record; Monarchy; Nation; Risorgimento", "identifier": "B 27015", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1656.html" }, { "title": "Marcia dei bersaglieri", "creator": "Parlophon", "date": "1935", "subject": "10 inches shellac record; Military, War, Institution", "identifier": "GP 91613", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1657.html" }, { "title": "Ninon", "creator": "Parlophon", "date": "1935", "subject": "10 inches shellac record; Light Music", "identifier": "GP 91613", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1658.html" }, { "title": "Fanfara dei bersaglieri", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record; Military, War, Institution", "identifier": "DQ 1804", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1659.html" }, { "title": "Ninna nanna", "creator": "Columbia", "date": "1936", "subject": "10 inches shellac record Childhood; Light Music", "identifier": "DQ 1804", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1660.html" }, { "title": "Fiore del Tigrai", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "GP 91977", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1661.html" }, { "title": "Bel moretto", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "GP 91977", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1662.html" }, { "title": "Adua", "creator": "Cristallo", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "15559", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1663.html" }, { "title": "Sulle ali della vittoria", "creator": "Cristallo", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "15559", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1664.html" }, { "title": "Ninna nanna grigioverde", "creator": "Cetra", "date": "1943", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). This song is from the movie \" L'angelo del crepusculo \".", "subject": "10 inches shellac record; World War II; Military; Movie", "identifier": "AA 303", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1665.html" }, { "title": "Lili Marlen", "creator": "Cetra", "date": "1943", "description": "A German love song from the late 1930s, \"Lili Marleen\" had no success before the Second World War, and only became a worldwide hit after its outbreak. It was translated into Italian and recorded several times by different record companies between 1941 and 1943. Carlo Ravasio, vice-secretary of the National Fascist Party, helps us to understand not only this success, but also why \"Lili Marleen\" became part of Italian war propaganda. Calling for the composition of new, more popular and effective war songs, he instructed \"that compositional themes must be free, that no programmatic constraints should bind the inspiration of artists, and that the fact of war, instead of being the subject of songs, should only constitute the ‘climate’ of the thoughts and feelings that the songs express (typical example: Lily Marlen)\" (cited in Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, p. 133). A slow, nostalgic song, Lili Marleen has thus taken on the status of a model of the song of the time - that is, of the climate, impressions and atmosphere - of the war. It accompanies the war, and can serve to regulate the feelings of sadness or despondency that the war arouses.", "subject": "10 inches shellac record; World War II; Love", "identifier": "AA 303", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1666.html" }, { "title": "Amba Alagi", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Martyr; War; Ethiopia; Colonisation; Victory", "identifier": "A 2948", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1667.html" }, { "title": "Carovane del Tigrai", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "A 2949", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1668.html" }, { "title": "Amba Alagi", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Martyr; War; Ethiopia; Colonisation; Victory", "identifier": "7309", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1669.html" }, { "title": "Serenatella lontana", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "subject": "10 inches shellac record; Love; War", "identifier": "7309", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1670.html" }, { "title": "Ninna nanna azzura", "creator": "Parlophon", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Martyr", "identifier": "GP 91908", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1671.html" }, { "title": "Dopo di me", "creator": "Parlophon", "date": "1936", "subject": "10 inches shellac record; Light Music", "identifier": "GP 91908", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1672.html" }, { "title": "Canto dei volontari per l’Africa orientale", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Mobilisation", "identifier": "7272", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1673.html" }, { "title": "Inno studenti universitari fascisti", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "This recording represents fascist university and student organizations.", "subject": "10 inches shellac record; Youth; Institution; Studenti Universitari Fascisti", "identifier": "7272", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1674.html" }, { "title": "Canto dei volontari", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song is from the movies \" All’ombra del Negus \" and \" Amo te sola \".", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Movie", "identifier": "A 2943", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1675.html" }, { "title": "Morettina", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; African Women", "identifier": "A 2941", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1676.html" }, { "title": "Oh ! Littoria", "creator": "Columbia", "date": "1934 ?", "description": "This song won first prize in a competition organized by Opera Nazionale Dopolavoro. Littoria (now Latina) is a city built by the Fascist regime from June 1932, and inaugurated by Benito Mussolini in December 1932. It is located in the former Pontine marshes south of Rome, which Mussolini had drained in 1928 as part of his \"Battle of the Grain\" (Battaglia del grano) agricultural production policy. Built in a territory that had been \" reclaimed ‘ (Bonifica), i.e. transformed to achieve a policy objective, Littoria was used by Fascist propaganda as an example of the success of one of the regime's ’great works\". This recording represents the Opera Nazionale Dopolavoro (OND) or participates in promoting the leisure policy it implements. Created in 1925 by the regime, the OND was aimed at workers, whose unions it intended to replace (the site of an intolerable socialist policy opposed with great violence) and to organize leisure time (\"Dopolavoro\"). By bringing together several thousand workers' associations engaged in a wide range of activities, and directing them in line with Fascist policies, the OND enabled the regime to put down roots in the world of work, organize a significant part of Italians' leisure time by mixing politics and culture, and invest a little more of their private lives. In this way, it contributed to the realization of Fascist totalitarianism (see Victoria De Grazia, \"Dopolavoro\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, pp. 443-447).", "subject": "10 inches shellac record; Littoria; Town; Opera Nazionale Dopolavoro", "identifier": "DQ 906", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1677.html" }, { "title": "La tua bocca", "creator": "Columbia", "date": "1934 ?", "description": "This song won first prize in a competition organized by Opera Nazionale Dopolavoro. This recording represents the Opera Nazionale Dopolavoro (OND) or participates in promoting the leisure policy it implements. Created in 1925 by the regime, the OND was aimed at workers, whose unions it intended to replace (the site of an intolerable socialist policy opposed with great violence) and to organize leisure time (\"Dopolavoro\"). By bringing together several thousand workers' associations engaged in a wide range of activities, and directing them in line with Fascist policies, the OND enabled the regime to put down roots in the world of work, organize a significant part of Italians' leisure time by mixing politics and culture, and invest a little more of their private lives. In this way, it contributed to the realization of Fascist totalitarianism (see Victoria De Grazia, \"Dopolavoro\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, pp. 443-447).", "subject": "10 inches shellac record; Light Music", "identifier": "DQ 906", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1678.html" }, { "title": "Sanzionami questo", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy; Satire ", "identifier": "7311", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1679.html" }, { "title": "Va fuori d'Italia… (O prodotto stranier)", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy; Satire", "identifier": "7311", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1680.html" }, { "title": "Sanzioni", "creator": "Parlophon", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy; Satire", "identifier": "GP 91926", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1681.html" }, { "title": "Aspettare", "creator": "Parlophon", "date": "1936", "subject": "10 inches shellac record; Satire", "identifier": "GP 91926", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1682.html" }, { "title": "Sanzionami questo", "creator": "Fonotecnica", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy; Satire ", "identifier": "A 2954", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1683.html" }, { "title": "Va fuori d'Italia… (O prodotto stranier)", "creator": "Fonotecnica", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy; Satire", "identifier": "A 2954", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1684.html" }, { "title": "Luce di Roma", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Romanità", "identifier": "MA 7324", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1685.html" }, { "title": "Marcia delle Legioni", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Victory; Empire; Legion", "identifier": "MA 7324", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1686.html" }, { "title": "La canzone dell’Africa", "creator": "Phono Electro", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Mobilisation", "identifier": "E 6980", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1687.html" }, { "title": "Una volta era così", "creator": "Phono Electro", "date": "1935", "subject": "10 inches shellac record; Light Music", "identifier": "E 6980", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1688.html" }, { "title": "L'Italia non s’arresta ", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; War; Nation; Romanità ", "identifier": "7433", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1689.html" }, { "title": "Da Trastevere a Dessie", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This recording refers to Rome. The ancient capital of the Roman Empire, of which it preserves numerous remains, is the object of a myth and a cult of \"Romanity\" (\"romanità\") due to its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory) on which the Fascist regime bases its own symbolic apparatus and national imaginary. From the early 1920s, the city was redeveloped to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (now \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy.", "subject": "10 inches shellac record; Romanità; Ethiopia; Colonisation", "identifier": "7433", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1690.html" }, { "title": "Gambette nere", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "identifier": "7432", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1691.html" }, { "title": "Stornelli al signor Tafari", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Haile Selassie; Satire", "identifier": "7432", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1692.html" }, { "title": "Faccetta nera", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "identifier": "7277", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1693.html" }, { "title": "Adua", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "7277", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1694.html" }, { "title": "Voce dall’Africa", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation", "identifier": "7310", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1695.html" }, { "title": "Amici", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; Satire", "identifier": "7310", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1696.html" }, { "title": "Guadalajara", "creator": "La Voce del Padrone", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront. This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Legion; Institution; Corpo Truppe Volontarie", "identifier": "HN 1307", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1697.html" }, { "title": "Spagnolita", "creator": "La Voce del Padrone", "date": "1937", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Francisco Franco", "identifier": "HN 1307", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1698.html" }, { "title": "Ritorna il legionario", "creator": "Fonotecnica", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Victory; Empire; Legion", "identifier": "A 4007", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1699.html" }, { "title": "Cantate di legionari", "creator": "Fonotecnica", "date": "1937", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Victory; Empire; Legion", "identifier": "A 4008", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1700.html" }, { "title": "Amba Alagi", "creator": "Odeon", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Martyr; War; Ethiopia; Colonisation; Victory", "identifier": "GO 12471", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1701.html" }, { "title": "Amiamoci", "creator": "Odeon", "date": "1935", "subject": "10 inches shellac record; Light Music; Love", "identifier": "GO 12471", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1702.html" }, { "title": "Avanti sempre", "creator": "Fonotecnica", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy ", "identifier": "A 2940", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1703.html" }, { "title": "Noi tireremo diritto", "creator": "Fonotecnica", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy ", "identifier": "A 2936", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1704.html" }, { "title": "La leggenda del Piave", "creator": "Columbia", "date": "1935", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "DQ 1256", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1705.html" }, { "title": "Soldato ignoto", "creator": "Columbia", "date": "1935", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "DQ 1256", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1706.html" }, { "title": "La bella di Etiopia", "creator": "Columbia", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; African Women", "identifier": "DQ 2187", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1707.html" }, { "title": "Mazurka toscana", "creator": "Columbia", "date": "1937", "subject": "10 inches shellac record; Light Music", "identifier": "DQ 2187", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1708.html" }, { "title": "La leggenda del Piave", "creator": "Columbia", "date": "1932 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "DQ 67", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1709.html" }, { "title": "Soldato ignoto", "creator": "Columbia", "date": "1932 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "10 inches shellac record; World War I; Remembrance", "identifier": "DQ 67", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1710.html" }, { "title": "Adua nostra", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "A 2931", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1711.html" }, { "title": "Si va en Abissinia", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation", "identifier": "A 2931", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1712.html" }, { "title": "Terza fantasia Ascari eritrei", "creator": "Parlophon", "date": "1936", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Folklore", "identifier": "GP 91867", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1713.html" }, { "title": "Seconda fantasia Ascari eritrei", "creator": "Parlophon", "date": "1936", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Folklore", "identifier": "GP 91867", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1714.html" }, { "title": "Stornellata societaria", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy ", "identifier": "HN 1026", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1715.html" }, { "title": "Noi tireremo diritto", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy ", "identifier": "HN 1026", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1716.html" }, { "title": "Seconda fantasia Ascari libici", "creator": "Parlophon", "date": "1936", "subject": "10 inches shellac record; Libya; Colonisation; Empire; Military; Institution; Ascari; Folklore", "source": "ABBONIZIO Isabella, 2009, \"Musica e colonialismo nell’Italia fascista (1922-1943)\", PhD in History, Sciences and Techniques of Music, supervisor: Raffaele Pozzi, Università degli studi di Roma \"Tor Vergata\", p. 170-171.", "identifier": "GP 91866", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1717.html" }, { "title": "Prima fantasia Ascari eritrei", "creator": "Parlophon", "date": "1936", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire; Military; Institution; Ascari; Folklore", "source": "ABBONIZIO Isabella, 2009, \"Musica e colonialismo nell’Italia fascista (1922-1943)\", PhD in History, Sciences and Techniques of Music, supervisor: Raffaele Pozzi, Università degli studi di Roma \"Tor Vergata\", p. 170-171.", "identifier": "GP 91866", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1718.html" }, { "title": "Riti arabi tripolini : Il dauòlgi (nelle noti di Ramadán)", "creator": "Parlophon", "date": "1936", "subject": "10 inches shellac record; Libya; Colonisation; Empire; Folklore", "source": "ABBONIZIO Isabella, 2009, \"Musica e colonialismo nell’Italia fascista (1922-1943)\", PhD in History, Sciences and Techniques of Music, supervisor: Raffaele Pozzi, Università degli studi di Roma \"Tor Vergata\", p. 170-171.", "identifier": "GP 91858", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1719.html" }, { "title": "La nuba ", "creator": "Parlophon", "date": "1936", "subject": "10 inches shellac record; Libya; Colonisation; Empire; Military; Institution; Ascari; Folklore", "source": "ABBONIZIO Isabella, 2009, \"Musica e colonialismo nell’Italia fascista (1922-1943)\", PhD in History, Sciences and Techniques of Music, supervisor: Raffaele Pozzi, Università degli studi di Roma \"Tor Vergata\", p. 170-171.", "identifier": "GP 91858", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1720.html" }, { "title": "Giovani fascisti", "creator": "Durium", "date": "1935", "description": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21.", "subject": "10 inches shellac record; Cardboard disc; Youth; Institution; Giovani Fascisti", "identifier": "T 211", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1721.html" }, { "title": "Inno a Roma", "creator": "Durium", "date": "1935", "description": "Composed in 1918 by Giacomo Puccini, \"Inno a Roma\" became a vehicle for celebrating the Italian capital during the \"ventennio\". As the former capital of the Roman Empire, of which it preserves many vestiges, Rome was the object of a myth and a cult of \"Romanity\" (\"romanità\"), because of its embodiment of the history, symbols and values of the ancient empire (military power, heroism, imperialism, grandeur, glory), elements on which the Fascist regime based its own symbolic apparatus and national imaginary. From the early 1920s, the city was remodeled to showcase the Roman ruins, at the cost of destroying part of its later architectural heritage. Linking the Colosseum to Piazza Venezia, from which Benito Mussolini worked and delivered some of the most important speeches of the Fascist period, the \"Via dell'Impero\" (today's \"Via dei Fori Imperiali\"), laid out between 1924 and 1932 to better showcase the many sites that line it, is an eloquent testimony to this highly symbolic urban policy. In Fascist discography, \"Inno a Roma\" is most often accompanied by a propaganda recording.", "subject": "10 inches shellac record; Cardboard disc; Romanità; Town", "identifier": "T 211", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1722.html" }, { "title": "Giovinezza", "creator": "Durium", "date": "1935", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Cardboard disc; Partito Nazionale Fascista; Institution; Youth", "identifier": "T 210", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1723.html" }, { "title": "Marcia Reale Italiana", "creator": "Durium", "date": "1935", "description": "The \"Marcia Reale\" (or \"Marcia Reale Italiana\") is the national anthem associated with the Italian monarchy, the representative instance of political power already in place before Benito Mussolini came to power in October 1922, and which remained present throughout the Fascist period. When marketed as a record, the monarchist anthem most often accompanied \"Giovinezza\", the anthem of the National Fascist Party, which served as a second national anthem, on the other side of the record. In this way, the same record gives voice to and represents the two sides of Italian political power: the symbolic one, which represents the process of uniting Italy (the \"Risorgimento\") and thus the very possibility of its existence as a nation; the executive one, which intends to represent the national, even racial, development of Italy according to the palingenesis principle central to Fascism. This recording is part of a record presented in a section of its publisher's catalog dedicated to educative records, probably suitable for use in schools. ", "subject": "10 inches shellac record; Cardboard disc; Nation; Risorgimento; Monarchy", "identifier": "T 210", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1724.html" }, { "title": "Pattuglia turca", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "subject": "10 inches shellac record; Light Music", "identifier": "7276", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1725.html" }, { "title": "Rusticanella", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1935", "description": "This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "7276", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1726.html" }, { "title": "La canzone d'Addis Abeba", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation", "identifier": "SE 7347", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1727.html" }, { "title": "Sul lago Tana", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Martyr; Love", "identifier": "SE 7347", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1728.html" }, { "title": "Ti saluto !… (…vado in Abissinia)", "creator": "Fonotecnica", "date": "1936 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was launched a few months before the start of the war and can be considered as propaganda material designed to stimulate the consent and mobilisation of the Italian people.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "identifier": "A 2907", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1729.html" }, { "title": "Faccetta nera", "creator": "Fonotecnica", "date": "1936 ?", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "identifier": "A 2908", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1730.html" }, { "title": "Ti saluto !… (…vado in Abissinia)", "creator": "Durium", "date": "1935 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was launched a few months before the start of the war and can be considered as propaganda material designed to stimulate the consent and mobilisation of the Italian people.", "subject": "10 inches shellac record; Single-sided cardboard disc; Ethiopia; Colonisation; War; Mobilisation", "identifier": "L 5075", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1731.html" }, { "title": "Amba Alagi", "creator": "Durium", "date": "1935 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Single-sided cardboard disc; Martyr; War; Ethiopia; Colonisation; Victory", "identifier": "L 5136", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1732.html" }, { "title": "Africanella", "creator": "Durium", "date": "1935 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was launched a few months before the start of the war and can be considered as propaganda material designed to stimulate the consent and mobilisation of the Italian people.", "subject": "10 inches shellac record; Single-sided cardboard disc; Ethiopia; Colonisation; War; African Women", "identifier": "L 5076", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1733.html" }, { "title": "Strofette africane", "creator": "Durium", "date": "1935 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Single-sided cardboard disc; Colonisation; Ethiopia; War", "identifier": "L 5120", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1734.html" }, { "title": "Chissà il negus che cosa dirà", "creator": "Durium", "date": "1935 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Single-sided cardboard disc; Ethiopia; Colonisation; Haile Selassie; Satire; War", "identifier": "L 5114", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1735.html" }, { "title": "Serenata a Ginevra", "creator": "Durium", "date": "1935 ?", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Single-sided cardboard disc; Sanctions; League of Nations; Autarchy; Ethiopia; War", "identifier": "L 5126", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1736.html" }, { "title": "Carovane del Tigrai", "creator": "Durium", "date": "1935 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Single-sided cardboard disc; Ethiopia; Colonisation; Empire", "identifier": "L 5137", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1737.html" }, { "title": "Carovane del Tigrai", "creator": "Cristallo", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; Empire", "identifier": "15561", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1738.html" }, { "title": "Scrivimi", "creator": "Cristallo", "date": "1936", "description": "This love song wasn't written for propaganda purposes, but its text, about a boy missing his girlfriend who hadn't written him a letter in a long time, was printed on postcards given to Italian soldiers leaving for the front in Ethiopia. ", "subject": "10 inches shellac record; Light Music; Love", "identifier": "15561", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1739.html" }, { "title": "Macallè", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "A 2926", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1740.html" }, { "title": "Adua", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "A 2927", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1741.html" }, { "title": "Adua", "creator": "Cristallo", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "15559", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1742.html" }, { "title": "Sulle ali della vittoria", "creator": "Cristallo", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). As Italy suffered a defeat in the late 19th century during its attempts to colonize Ethiopia, and the Fascist regime won the second Italo-Ethiopian conflict, this tune is as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "15559", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1743.html" }, { "title": "Africanella", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "identifier": "GW 1125", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1744.html" }, { "title": "Come è bello fa l’amore quando è sera !", "creator": "La Voce del Padrone", "date": "1936", "subject": "10 inches shellac record; Light Music; Love", "identifier": "GW 1125", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1745.html" }, { "title": "Africanella", "creator": "Phono Electro", "date": "1936 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; African Women", "identifier": "7103", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1746.html" }, { "title": "Chissà il negus che cosa dirà", "creator": "Phono Electro", "date": "1936 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Satire; Haile Selassie", "identifier": "7117", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1747.html" }, { "title": "Stornelli neri", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Satire; Haile Selassie", "identifier": "A 2922", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1748.html" }, { "title": "Stornellata abissina", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; War; Colonisation; Satire; Haile Selassie", "identifier": "A 2923", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1749.html" }, { "title": "Sotto le stelle del Tigrai", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "identifier": "7313", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1750.html" }, { "title": "Stornelli neri", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Satire; Haile Selassie", "identifier": "7313", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1751.html" }, { "title": "Canzone azzura", "creator": "Fonotecnica", "date": "1936", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Aviation", "identifier": "A 2942", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1752.html" }, { "title": "Voce dall’Africa", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation", "identifier": "A 2945", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1753.html" }, { "title": "Faccetta nera", "creator": "Italdisco", "date": "1935", "description": "A song that achieved immense popularity soon after its first release in June 1935, \"Faccetta nera\" was part of the vast propaganda repertoire that accompanied the political preparation for the Second Italo-Ethiopian Conflict, its conduct, then the victory of Fascist troops and the founding of the Italian Empire in East Africa. The song encapsulates some of the most striking features of this repertoire: racism; African women placed under the sexual domination of Italian colonists; liberation of Ethiopia by the Italian invasion; the civilizing mission of the Fascist regime. Too suggestive, her lyrics were modified in 1936, as the regime considered that they encouraged amorous and sexual relations between Italian colonists and Ethiopian women, which were to be limited notably for racial reasons (see Marie-Anne Matard-Bonucci, Totalitarisme fasciste, Paris, CNRS Éditions, 2018). ", "subject": "8 inches shellac record; Ethiopia; Colonisation; War; African Women", "identifier": "IB 3550", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1754.html" }, { "title": "La canzone dell’Africa", "creator": "Italdisco", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "8 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "identifier": "IB 3550", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1755.html" }, { "title": "Balilla", "creator": "Durium", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "T 214", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1756.html" }, { "title": "Bimbe d’Italia", "creator": "Durium", "date": "1935", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Girls; Piccole Italiane; Opera Nazionale Balilla", "identifier": "T 214", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1757.html" }, { "title": "Piccole italiane", "creator": "Cristallo", "date": "1936", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Girls; Piccole Italiane; Opera Nazionale Balilla", "identifier": "M 15557", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1758.html" }, { "title": "I Balilla d’Italia", "creator": "Cristallo", "date": "1936", "description": "This recording belongs to a repertoire of hymns and marches representing the Fascist youth institution Opera Nazionale Balilla (ONB), founded in 1926 and replaced by the \"Gioventù Italiana del Littorio\" in 1937. The ONB's various branches divided up young Italian boys and girls aged 8 to 18, providing them with Fascist cultural, political, physical and military training. Regarded as the future of the regime, especially from a military perspective, the children had to be exemplary in their devotion to Italy and to Benito Mussolini, in order to form a united patriotic and Fascist community. It is probably to achieve this goal that the songs representing the various male and female branches of the ONB are often performed by children's choirs, trained in schools mostly located in Milan, the city from which the Fascist movement developed (see Antonio Gibelli, \"Opera Nazionale Balilla\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 267-271).", "subject": "10 inches shellac record; Childhood; Education; Institution; Boys; Opera Nazionale Balilla", "identifier": "M 15557", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1759.html" }, { "title": "Ritorna il legionario", "creator": "Fonotecnica", "date": "1937 ?", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Ethiopia; Victory; Empire; Legion", "identifier": "A 1610", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1760.html" }, { "title": "Inno all’Italia", "creator": "Fonotecnica", "date": "1937 ?", "subject": "10 inches shellac record; Nation", "identifier": "A 4042", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1761.html" }, { "title": "Sul lago Tana", "creator": "Phono Electro", "date": "1937", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; War; Ethiopia; Colonisation; Martyr; Love", "identifier": "E 7787", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1762.html" }, { "title": "Guadalajara", "creator": "Phono Electro", "date": "1937", "description": "This recording relates to the participation of Fascist Italy and its troops in the Spanish Civil War (1936-1939). Opposing the Republicans (Spanish left-wing and international) to the nationalist forces led by General Francisco Franco, the Spanish Civil War soon involved foreign combatants, including, on the nationalist side, German and Italian army corps (Corpo Truppe Volontarie). Italy sought to gain influence in the Mediterranean basin and demonstrate the power of its army. However, it notably suffered a crushing defeat at Guadalajara (March 1937). The Spanish Civil War was also the backdrop to an alliance between the \"Tre Condottieri\" (Franco, Adolf Hitler, Benito Mussolini), who thus formed a European fascist triangle. The new affinity between Italy and Spain is underlined (and disseminated) by the recording of Spanish national and military anthems by Italian record companies.", "subject": "10 inches shellac record; Spanish Civil War; Military; Institution; Corpo Truppe Volontarie", "identifier": "E 7788", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1763.html" }, { "title": "La ritirata", "creator": "Durium", "date": "1935", "description": "A result of the Risorgimento (the process of Italian unification), the Regia Marina Italiana (Italian Royal Navy) was the military navy of the Kingdom of Italy between 1961 and 1946. On record, its anthem, \"La Ritirata\", is often paired with Fascist hymns (e.g. \"Giovinezza\" or \"Rusticanella\").", "subject": "10 inches shellac record; Military; Navy; Institution; Regia Marina Italiana; Risorgimento", "identifier": "T 212", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1764.html" }, { "title": "Rusticanella", "creator": "Durium", "date": "1935", "description": "This recording represents the Milizia volontatria per la sicurezza nazionale (MVSN), or Blackshirts/Squadrists, a militia founded a few months after Benito Mussolini came to power, from the Fascist militias that between 1919 and 1922 attacked opponents of the Fascist movement, led by socialists and communists, with extreme violence, using sticks and castor oil (a laxative and potentially lethal oil). Institutionalized by Benito Mussolini, the MVSN became a paramilitary corps which, in addition to controlling the violence of certain squadrists, carried out political policing and anti-dissent missions. It took part in the Second Italo-Ethiopian War and the Spanish Civil War, eventually being integrated into the army (see Mauro Canali, \"Milizia volontatria per la sicurezza nazionale\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, pp. 129-132).", "subject": "10 inches shellac record; Partito Nazionale Fascista; Institution; Violence; Milizia Volontaria per la Sicurezza Nazionale", "identifier": "T 212", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1765.html" }, { "title": "È finito il bel tempo che fu", "creator": "Cristallo", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; War; Ethiopia; Sanctions; League of Nations; Empire; Satire", "identifier": "M 15541", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1766.html" }, { "title": "Serenata a Ginevra", "creator": "Cristallo", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; Autarchy; Ethiopia; War", "identifier": "M 15541", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1767.html" }, { "title": "Vojo cantà", "creator": "Columbia", "date": "1935", "subject": "10 inches shellac record; Light Music", "identifier": "DQ 1758", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1768.html" }, { "title": "Serenata a Ginevra", "creator": "Columbia", "date": "1935", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; Autarchy; Ethiopia; War", "identifier": "DQ 1758", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1769.html" }, { "title": "Canzone del fante est africano", "creator": "Columbia", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). This song was released before the start of the war to prepare for it by stimulating the consent and mobilization of Italians.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation", "identifier": "DQ 1489", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "rightsstatement": "Camillo Boscia, \" Dischi nuovi \", Radiocorriere, July 21, 1935, p. 31", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1770.html" }, { "title": "Signor vigile", "creator": "Columbia", "date": "1935", "subject": "10 inches shellac record; Light Music", "identifier": "DQ 1489", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1771.html" }, { "title": "La canzone dei sommergibili", "creator": "Columbia", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Military; Institution; Sommergibili", "identifier": "DQ 3516", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1772.html" }, { "title": "La sagra di Giarabub ", "creator": "Columbia", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136).", "subject": "10 inches shellac record; World War II; Remembrance; Martyr; Colonisation; Libya; United Kingdom ", "identifier": "DQ 3516", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1773.html" }, { "title": "Ho scritto ar Duce", "creator": "La Voce del Padrone", "date": "1936 ?", "description": "Referring to Benito Mussolini, this recording is part of a cult of the Fascist leader's personality and disseminates the myth surrounding him (Mussolinismo). The charismatic leader of Italian Fascism and the regime he embodied, Mussolini, nicknamed \"Duce\" (he who guides), was portrayed as a heroic man, father of the nation, superior in his capacity for work and far-sightedness. His imagination describes him as the \"New Man\", whose creation from the Italian people is the main objective of the work of regeneration that characterizes Fascist ideology. The manifestation of Italians' love for the Duce is a recurrent theme of propaganda, with the head of government virtually occupying the place of God in the political religion (mass rituals, Fascist faith) that is Fascism in power (see Alessandro Campi, \"Mussolinismo\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 2, L-Z, Milano, Arnoldo Mondadori Editore, 2019, p. 200-204).", "subject": "10 inches shellac record; Mussolinismo", "identifier": "GW 989", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1774.html" }, { "title": "Maggiolata", "creator": "La Voce del Padrone", "date": "1936 ?", "subject": "10 inches shellac record; Light Music", "identifier": "GW 989", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1775.html" }, { "title": "E l’Italiano canta", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "A 2920", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1776.html" }, { "title": "E canta, canta (Strofette abissine)", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Victory", "identifier": "A 2921", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1777.html" }, { "title": "Tutti eroi (la canzone dei legionari)", "creator": "La Voce del Padrone", "date": "1936", "description": "The main subjects of this song are the legion and the legionnaires, particularly exploited by Fascist propaganda from the second Italo-Ethiopian conflict (1935-1936) onwards, and later during Italy's engagement in the Spanish Civil War (1936-1939) and the Second World War (1940-1943). As the word was used in the Italian army before Benito Mussolini came to power, the \"legion\" designates a basic military unit which, in the context of Fascist Italy, also refers to the ancient Roman imperial armies and activates their imaginary. The legionnaire, expected to fight and die in the name of the \"Duce\", embodies the values central to Fascism and its propaganda. When he helps Italy regain its \"greatness\", the legionnaire is a hero and a good patriot. When he dies in combat, he is a martyr, and his death represents an exemplary, desirable sacrifice. In addition to his love for his country and for B. Mussolini, songs featuring the legionnaire evoke his feelings for the mother, fiancée or wife he has left to fight far from home; songs featuring the legion evoke also a collective heroism. Legionnaires and the Legion are therefore major symbolic figures for the regime as soon as it sets out to wage war, and needs to activate and regulate the feelings that will motivate a possibly fatal military engagement, and make it accepted, even desired, by those who won't be going to the battlefront.", "subject": "10 inches shellac record; War; Military; Legion", "identifier": "HN 1051", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1778.html" }, { "title": "Luna vagante", "creator": "La Voce del Padrone", "date": "1936", "description": "This song is from the movie \"Il mango del jazz\".", "subject": "10 inches shellac record; Light Music; Movie", "identifier": "HN 1051", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1779.html" }, { "title": "Vieni a Macallè (Letterina coloniale)", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).  This song is part of the repertoire for the end of the Ethiopian War, which celebrates the Fascist colonial victory and encourages Italians to settle in the new Italian Empire in East Africa.", "subject": "10 inches shellac record; Ethiopia; Colonisation; Victory; Empire", "identifier": "HN 950", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1780.html" }, { "title": "Voce dall’Africa", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation", "identifier": "HN 950", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1781.html" }, { "title": "Sanzionami questo", "creator": "Cristallo", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Sanctions; League of Nations; War; Ethiopia; Autarchy; Satire ", "identifier": "15562", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1782.html" }, { "title": "Valzer della fisarmonica", "creator": "Cristallo", "date": "1936", "subject": "10 inches shellac record; Light Music", "identifier": "15562", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1783.html" }, { "title": "Tarantella Imperiale", "creator": "Phono Electro", "date": "1936", "subject": "10 inches shellac record; Empire", "identifier": "E 7238", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1784.html" }, { "title": "Nostalgia di mandolini", "creator": "Phono Electro", "date": "1936", "subject": "10 inches shellac record; Light Music", "identifier": "E 7230", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1785.html" }, { "title": "Abissinia napulitana", "creator": "Phono Electro", "date": "1935 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "12 inches shellac record; Ethiopia; Colonisation", "identifier": "E 7106", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1786.html" }, { "title": "À canzone d’o gallo", "creator": "Phono Electro", "date": "1935 ?", "subject": "12 inches shellac record; Light Music", "identifier": "E 7108", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1787.html" }, { "title": "Nuova goliarda", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording represents fascist university and student organizations. ", "subject": "10 inches shellac record; War; Youth; Studenti Volontari", "identifier": "7420", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1788.html" }, { "title": "La madonnina degli aviatori", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; War; Aviation; Martyr", "identifier": "7420", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1789.html" }, { "title": "Bella Abissina", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; African Women", "identifier": "A 2930", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1790.html" }, { "title": "Si va in Abissinia", "creator": "Fonotecnica", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation", "identifier": "A 2931", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1791.html" }, { "title": "Faccetta bianca (Addio el Bersagliere d’Africa)", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Women", "identifier": "7379", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1792.html" }, { "title": "O sergentino", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "identifier": "7379", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1793.html" }, { "title": "Morettina", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Ethiopia; Colonisation; African Women", "identifier": "HN 947", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1794.html" }, { "title": "Amba Alagi", "creator": "La Voce del Padrone", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The title of this song refers to a place in Ethiopia, where Italy suffered a defeat in the late 19th century during its attempts to colonize the region, and where the Fascist regime won a victory during the second Italo-Ethiopian conflict. The song is therefore as much a celebration of a Fascist colonial success as it is of revenge on Ethiopia.", "subject": "10 inches shellac record; Martyr; War; Ethiopia; Colonisation; Victory", "identifier": "HN 947", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1795.html" }, { "title": "Africa Orientale", "creator": "La Voce del Padrone", "date": "1935 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). The colony of Italian Somalia was created in 1889 and maintained until 1941, after being integrated into Italian East Africa, created in 1936 after Ethiopia's military defeat by Fascist Italy. It imposed a regime of discrimination, forced labor and educational deprivation on the indigenous population. ", "subject": "10 inches shellac record; Colonisation; Empire; Ethiopia; Italian Somalia; War", "identifier": "GW 1169", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1796.html" }, { "title": "Scende la sera", "creator": "La Voce del Padrone", "date": "1935 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025).", "subject": "10 inches shellac record; Light Music", "identifier": "GW 1169", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1797.html" }, { "title": "Moschetto e vanga", "creator": "Parlophon", "date": "1938 ?", "subject": "10 inches shellac record; Partito Nazionale Fascista", "identifier": "GP 92496", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1798.html" }, { "title": "Canto della Massaia", "creator": "Parlophon", "date": "1938 ?", "subject": "10 inches shellac record; Light Music", "identifier": "GP 92496", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1799.html" }, { "title": "Il minatore", "creator": "Fonotecnica", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Ethiopia; War; Sanctions; League of Nations", "identifier": "A 2956", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1800.html" }, { "title": "Questa notte ti diro’", "creator": "Fonotecnica", "date": "1936", "description": "This song is from the movie \"Musica in piazza\".", "subject": "10 inches shellac record; Light Music; Movie", "identifier": "A 2957", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1801.html" }, { "title": "Il minatore", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "This recording illustrates the repertoire of songs written in reaction to the economic sanctions imposed by the League of Nations against Italy following its invasion of Ethiopia in late 1935. These often satirical songs express the Fascist regime's resentment of the world's great powers, such as France and Germany, which, unlike Italy, each possessed a vast colonial empire. As pure propaganda songs, they also asserted Fascist Italy's ability to overcome sanctions, its legitimacy in acquiring a colonial empire through war, and thereby occupying the rank of great international power it believed it should. ", "subject": "10 inches shellac record; Ethiopia; War; Sanctions; League of Nations", "identifier": "7328", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1802.html" }, { "title": "Canzone azzura", "creator": "Fonit - Fonodisco Italiano Trevisan", "date": "1936", "description": "Civil and military aviation were strongly supported by the Italian Fascist regime, particularly because of the technical and modern power they embodied, arousing admiration and prestige for those who excelled in them. The best Italian aviators were thus considered to be men of the highest calibre. Those who joined the army, fought or died in the second Italo-Ethiopian conflict were considered Fascist heroes or martyrs. In both cases, they represented important symbolic resources for Fascist propaganda; resources exploited through this recording. [For more informations on \"Aviation\" and \"Fascism\", see : Gregory Alegi, \"Aeronautica\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 10-15]", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Aviation", "identifier": "7328", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1803.html" }, { "title": "Cara mamma", "creator": "Cristallo", "date": "1936", "subject": "10 inches shellac record; War; Mother", "identifier": "M 15542", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1804.html" }, { "title": "Mamma d’amore", "creator": "Cristallo", "date": "1936", "subject": "10 inches shellac record; Light Music; Mother", "identifier": "M 15542", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1805.html" }, { "title": "Giovinezza", "creator": "Pathé", "date": "1928 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "11.4 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "E 16310", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1806.html" }, { "title": "La leggenda del Piave", "creator": "Pathé", "date": "1928 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "11.4 inches shellac record; World War I; Remembrance", "identifier": "E 16310", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1807.html" }, { "title": "Giovinezza", "creator": "La Voce del Padrone", "date": "1928 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "12 inches shellac record; Partito Nazionale Fascista; Institution; Youth", "identifier": "DB 935", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1808.html" }, { "title": "La leggenda del Piave", "creator": "La Voce del Padrone", "date": "1928 ?", "description": "This recording belongs to a repertoire of popular songs relating to the First World War, sung by Italian soldiers or written to celebrate their heroism. They predate the creation of the Italian Combat Fascists (Fasci italiani di combattimento) in March 1919, which became the National Fascist Party in November 1921. They were not designed for Fascist propaganda, but were part of it because of the extreme importance of the Great War in the history and imagination of the Fascist movement and regime. For the latter, it represented a purifying and regenerating nationalist ordeal, during which heroes and martyrs were created, and which ended in victory for Italy, but a \"mutilated\" victory that ignored its territorial claims, frustrated Italian nationalism and generated powerful resentment in the country. The remembrance and commemoration of the war through song are thus frequently used as a means of exploiting its immense deposit of symbolic and emotional resources. It was also at the heart of the historical process of entering and waging this war that Benito Mussolini set his political activity on the course that would lead to the creation of the Fascist movement and regime. Two songs from this repertoire feature prominently: \"Leggenda del Piave\" and \"Canzone del Grappa\". They refer directly to the Battles of Piave (between December 1917 and October 1918), in which the Italian and Allied armies repelled the invasion of Austro-Hungarian forces into Italy, culminating in a decisive victory for the outcome of the war, lost by the central empires in November 1918 (see Angelo Ventrone, \"Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 624-627 ; Oliver Janz, \"Memoria della Grande Guerra\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 627-630).", "subject": "12 inches shellac record; World War I; Remembrance", "identifier": "DB 935", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1809.html" }, { "title": "Addio Rosina bella", "creator": "Phono Electro", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)", "subject": "10 inches shellac record; Ethiopia; Colonisation; War", "identifier": "E 6974", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1810.html" }, { "title": "Serenata a Sellassiè", "creator": "Phono Electro", "date": "1935", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)", "subject": "10 inches shellac record; Ethiopia; Colonisation; War; Mobilisation; Satire; Haile Sellassiè", "identifier": "E 6974", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1811.html" }, { "title": "E canta l'ascaro ! \"quel dolce ritornel\"", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)", "subject": "10 inches shellac record; Colonisation; Africa; Military; Ascari; African Women", "identifier": "SE 7333", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1812.html" }, { "title": "Ho una casetta… (pronta per te !)", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936", "subject": "10 inches shellac record; Light Music", "identifier": "SE 7333", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1813.html" }, { "title": "E canta l'ascaro !", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936 ?", "description": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)", "subject": "8 inches shellac record; Colonisation; Africa; Military; Ascari; African Women", "identifier": "V 9780", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1814.html" }, { "title": "Paesanella", "creator": "Excelsius (Fonografia Nazionale)", "date": "1936 ?", "subject": "8 inches shellac record; Light Music; Love", "identifier": "V 9780", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1815.html" }, { "title": "Ninna nanna grigioverde", "creator": "La Voce del Padrone", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). This song is from the movie \" L'angelo del crepusculo \".", "subject": "10 inches shellac record; World War II; Military; Movie", "identifier": "DA 5414", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1816.html" }, { "title": "Tenerezza", "creator": "La Voce del Padrone", "date": "1941", "description": "Italy's entry into the Second World War in June 1940 was accompanied by a large production of light songs with military overtones. These songs, whose themes - like others before them - included heroism and sacrifice in battle, patriotic and Fascist faith, the love of parents, wives and children, the invasion of England and the alliance with Nazi Germany, were mostly sung by men. They are broadcast on the radio, in the press (Il Canzoniere della radio) or as sheet music, and are recorded by the major record companies. In addition to the phonographic repertoire of these light songs, there was also a repertoire of purely military songs and music, representing a particular army corps, as well as older songs, some of them taken from popular films. All these songs and musics are aimed as much at the audience of those who stayed behind as at the soldiers who went to the front, but they are not all successful and pose a stratigic problem for war propaganda. The records that carry them are often grouped together, within the catalogs of the companies that sell them, in sections dedicated to wartime phonography (see Pietro Cavallo & Pasquale Iaccio, Vincere! Fascismo e società italiana nelle canzoni e nelle riviste di varietà (1935-1943), Napoli, Liguori editore, 2003, pp. 109-136). This song is from the movie \" Vertigine \".", "subject": "10 inches shellac record; World War II; Movie; Love", "identifier": "DA 5414", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1817.html" }, { "title": "Riti ebraici tripolini : finale di benedizione nuziale", "creator": "Parlophon", "date": "1936 ?", "subject": "10 inches shellac record; Libya; Colonisation; Empire; Folklore", "source": "ABBONIZIO Isabella, 2009, \"Musica e colonialismo nell’Italia fascista (1922-1943)\", PhD in History, Sciences and Techniques of Music, supervisor: Raffaele Pozzi, Università degli studi di Roma \"Tor Vergata\", p. 170-171.", "identifier": "GP 91871", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1818.html" }, { "title": "Giovinezza (Coro in lingua ebraica)", "creator": "Parlophon", "date": "1936 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Libya; Colonisation; Empire; Folklore; Nation", "source": "ABBONIZIO Isabella, 2009, \"Musica e colonialismo nell’Italia fascista (1922-1943)\", PhD in History, Sciences and Techniques of Music, supervisor: Raffaele Pozzi, Università degli studi di Roma \"Tor Vergata\", p. 170-171.", "identifier": "GP 91871", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1819.html" }, { "title": "Il Saher el lel : cantato in arabo; Giovinezza : cantato in arabo", "creator": "Parlophon", "date": "1936 ?", "description": "\"Giovinezza\" is a composition by Giuseppe Blanc dating from 1909, which received lyrics from at least three different authors. The song was used as the hymn of the National Fascist Party (NFP) alongside \"All'armi\" from its creation in November 1921, before a new version with lyrics by Salvatore Gotta became the official anthem in 1924. Popular, it became the national anthem of Fascist Italy, alongside the \"Marcia Reale\", which signifies the pre-Fascist monarchical aspect, and thus the historical continuity, of the Italian nation. Often featured on records also including \"Marcia Reale\", it was the most recorded hymn under Benito Mussolini's government, in instrumental versions or sung by adults and children alike. The intensity of this presence is one of the signs of the central symbolic and political role played by youth in the regime's project of national regeneration, which also provided a framework for the fascization of young Italians in and out of school, with the creation of several dedicated institutions from the mid-1920s onwards (see Bruno Wanrooij, \"Giovinezza\", in Victoria De Grazia & Sergio Luzzatto (eds), Dizionario del fascismo. Vol. 1, A-K, Milano, Arnoldo Mondadori Editore, 2019, p. 600-604).", "subject": "10 inches shellac record; Libya; Colonisation; Empire; Folklore; Nation", "source": "ABBONIZIO Isabella, 2009, \"Musica e colonialismo nell’Italia fascista (1922-1943)\", PhD in History, Sciences and Techniques of Music, supervisor: Raffaele Pozzi, Università degli studi di Roma \"Tor Vergata\", p. 170-171.", "identifier": "GP 91859", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1820.html" }, { "title": "L'ammaina bandiera al castello di Tripoli : La cerimonia - La Nuba", "creator": "Parlophon", "date": "1936 ?", "subject": "10 inches shellac record; Libya; Colonisation; Empire; Folklore", "source": "ABBONIZIO Isabella, 2009, \"Musica e colonialismo nell’Italia fascista (1922-1943)\", PhD in History, Sciences and Techniques of Music, supervisor: Raffaele Pozzi, Università degli studi di Roma \"Tor Vergata\", p. 170-171.", "identifier": "GP 91859", "type": "text", "format": "item", "language": "eng", "rights": "metadata-only record, please check the publication for rights", "object_location": "", "reference_url": "http://localhost:4000/items/demo_1821.html" } ] }