{ "title": { "media": { "url": "/assets/img/redire-titel5.jpg", "caption": null, "credit": "REDIRE Database" }, "text": { "headline": "REDIRE Database Timeline", "text": "The REDIRE database documents over 900 records from the Italian Fascist regime (1922–1943), exploring the use of phonographic recordings for propaganda and their role in totalitarian culture. Part of the EU Horizon 2022 Marie Skłodowska-Curie project (grant 101105514), REDIRE supports critical research into the history and media of fascism.\nThis database is part of the REDIRE (Recorded Sound Propaganda of the Italian Fascist Regime) project, which has received funding from the European Union's Horizon 2022 research and innovation program under Marie Skłodowska-Curie grant agreement no. 101105514.\nThe REDIRE database gathers information on over 900 records produced during the 20 years of the Italian Fascist regime (1922-1943) by record companies based in Italy. It is part of a research project into the use of the record by Fascist propaganda, which expressed the totalitarianism, imperialism, racism, political violence and cult of the leader, of the State that benefited from it. A tool for scientific investigation and the result of critical research into the history of the Italian Fascist regime (particularly its violent and criminal dimension), the REDIRE database is not intended to exist as a remembrance site for those nostalgic for this regime and the political movements that preceded or followed it. Texts explaining the connection of the records and their contents with the fascist imagination are offered as often as possible within the datasets, in order to better understand the construction and political aims of these propaganda recordings. \nThe REDIRE database exhibits a surprisingly vast corpus of discs. By bringing this corpus to light, its aim is to better understand the history and functioning of Fascist sound propaganda. Firstly, it shows that the major international and Italian record companies, many of which continued to exist after the fall of the regime, participated massively in Fascist propaganda. Secondly, it questions what recorded sound propaganda is when it is conceived in a totalitarian context. In the REDIRE database, we find not only explicit recordings of political songs, but also implicit ones that accompany fascist policies or the fascist imaginary, without actually referring to them. These recordings testify to fascism's ability to invade all aspects of life in an attempt to shape it strictly according to its ideological framework. The REDIRE database thus shows the thematic scope of Fascist sound propaganda, or rather the declension of the same imaginary in the fields of schooling, the First and Second World Wars, the wars in Ethiopia and Spain, the founding of the Empire (Italian East Africa), Italian civilization, and so on.\nThe REDIRE database is not exhaustive (some records have disappeared or been missed), and may contain errors, particularly as concerns dates. Its sources (record catalogs, newspapers, library catalogs) are sometimes vague. Yet it opens up a perspective on how records were used to infuse politics into Italian mass sound culture. This is already the case through the style of propaganda songs; music that is often light, joyful, mixed with military accents, sung by men with proven lyrical skills and accompanied by fine orchestras. This is also the case with records featuring one of these propaganda songs on one side, and a non-political song on the other: as both are presented on the record as equivalent, the non-political song naturalizes the political song and, in turn, naturalizes fascism. \nThe REDIRE database and the project it is part of therefore aim to better consider the record and phonographic practices in research on Italian fascism and its mode of existence, as well as the political agentivity of sound and sound media. The database is freely accessible, and is open to suggestions and corrections from those who consult it.\n" } }, "events": [ { "media": { "url": "", "caption": "Marcia Notturna de 4 Regg. Bersaglieri", "link": "/items/demo_0001.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Marcia Notturna de 4 Regg. Bersaglieri", "text": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)" } },{ "media": { "url": "", "caption": "Uscita del Tenente Colonnello Galliano dal forte du Makalle'", "link": "/items/demo_0002.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Uscita del Tenente Colonnello Galliano dal forte du Makalle'", "text": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)" } },{ "media": { "url": "", "caption": "Una domenica fra le trincee di Tripoli", "link": "/items/demo_0003.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Una domenica fra le trincee di Tripoli", "text": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)" } },{ "media": { "url": "", "caption": "La fucilazione dell'interprete tedesco a tripoli", "link": "/items/demo_0004.html" }, "start_date": { "year": "1928" }, "text": { "headline": "La fucilazione dell'interprete tedesco a tripoli", "text": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)" } },{ "media": { "url": "", "caption": "Un attentato notturno a Bengasi", "link": "/items/demo_0005.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Un attentato notturno a Bengasi", "text": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)" } },{ "media": { "url": "", "caption": "I berretti du lana (Scena della guerra di Tripoli)", "link": "/items/demo_0006.html" }, "start_date": { "year": "1928" }, "text": { "headline": "I berretti du lana (Scena della guerra di Tripoli)", "text": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)" } },{ "media": { "url": "", "caption": "I funerali degli eroi dopo la battaglia di Bengasi", "link": "/items/demo_0007.html" }, "start_date": { "year": "1928" }, "text": { "headline": "I funerali degli eroi dopo la battaglia di Bengasi", "text": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)" } },{ "media": { "url": "", "caption": "Sulla ridotta Lombardia (Scena dell'occupazione italiana a Derna)", "link": "/items/demo_0008.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Sulla ridotta Lombardia (Scena dell'occupazione italiana a Derna)", "text": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)" } },{ "media": { "url": "", "caption": "Il Papa e le campagne di Venezia (Scena Vaticana)", "link": "/items/demo_0009.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Il Papa e le campagne di Venezia (Scena Vaticana)", "text": "Sound historical reconstruction (\" Scena dal vero \")" } },{ "media": { "url": "", "caption": "La rivista del 14 marzio a Tripoli", "link": "/items/demo_0010.html" }, "start_date": { "year": "1928" }, "text": { "headline": "La rivista del 14 marzio a Tripoli", "text": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)" } },{ "media": { "url": "", "caption": "La partenza del richiamato per Tripoli", "link": "/items/demo_0011.html" }, "start_date": { "year": "1928" }, "text": { "headline": "La partenza del richiamato per Tripoli", "text": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)" } },{ "media": { "url": "", "caption": "La consegna della medaglia d'oro all'11° Bersaglieri ed all'84° Fanteria a tripoli", "link": "/items/demo_0012.html" }, "start_date": { "year": "1928" }, "text": { "headline": "La consegna della medaglia d'oro all'11° Bersaglieri ed all'84° Fanteria a tripoli", "text": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)" } },{ "media": { "url": "", "caption": "La breccia di porta pia", "link": "/items/demo_0013.html" }, "start_date": { "year": "1928" }, "text": { "headline": "La breccia di porta pia", "text": "Sound historical reconstruction (\" Scena dal vero \")" } },{ "media": { "url": "", "caption": "La partenza delle truppe italiane per la Cina", "link": "/items/demo_0014.html" }, "start_date": { "year": "1928" }, "text": { "headline": "La partenza delle truppe italiane per la Cina", "text": "Sound historical reconstruction (\" Scena dal vero \") of events related to the Italian colonisation of Lybia (circa 1911)" } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_0015.html" }, "start_date": { "year": "1928" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Soldato Ignoto", "link": "/items/demo_0016.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Soldato Ignoto", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza, Giovinezza", "link": "/items/demo_0017.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Giovinezza, Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Inno ai martiri fascisti", "link": "/items/demo_0018.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Inno ai martiri fascisti" } },{ "media": { "url": "", "caption": "All'armi, All'armi", "link": "/items/demo_0019.html" }, "start_date": { "year": "1928" }, "text": { "headline": "All'armi, All'armi", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza, Giovinezza", "link": "/items/demo_0020.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Giovinezza, Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_0021.html" }, "start_date": { "year": "1928" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0022.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0023.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Inno di Mameli", "link": "/items/demo_0024.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Inno di Mameli" } },{ "media": { "url": "", "caption": "Inno ai martiri fascisti", "link": "/items/demo_0025.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Inno ai martiri fascisti" } },{ "media": { "url": "", "caption": "Yvonne (Novella russa)", "link": "/items/demo_0026.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Yvonne (Novella russa)" } },{ "media": { "url": "", "caption": "All'armi !.. All'armi !", "link": "/items/demo_0027.html" }, "start_date": { "year": "1929" }, "text": { "headline": "All'armi !.. All'armi !", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0028.html" }, "start_date": { "year": "1929" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0029.html" }, "start_date": { "year": "1926" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_0030.html" }, "start_date": { "year": "1926" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Inno al Duce", "link": "/items/demo_0031.html" }, "start_date": { "year": "1929" }, "text": { "headline": "Inno al Duce", "text": "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)." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_0032.html" }, "start_date": { "year": "1929" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Inno degli Studenti Universitari Fascisti", "link": "/items/demo_0033.html" }, "start_date": { "year": "1929" }, "text": { "headline": "Inno degli Studenti Universitari Fascisti", "text": "This recording represents fascist university and student organizations." } },{ "media": { "url": "", "caption": "La Marcia delle Legioni (Inno imperiale)", "link": "/items/demo_0034.html" }, "start_date": { "year": "1929" }, "text": { "headline": "La Marcia delle Legioni (Inno imperiale)", "text": "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." } },{ "media": { "url": "", "caption": "Il canto del lavoro", "link": "/items/demo_0035.html" }, "start_date": { "year": "1929" }, "text": { "headline": "Il canto del lavoro", "text": "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.\"" } },{ "media": { "url": "", "caption": "Il canto del lavoro", "link": "/items/demo_0036.html" }, "start_date": { "year": "1929" }, "text": { "headline": "Il canto del lavoro", "text": "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.\"" } },{ "media": { "url": "", "caption": "Il canto del lavoro", "link": "/items/demo_0037.html" }, "start_date": { "year": "1929" }, "text": { "headline": "Il canto del lavoro", "text": "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.\"" } },{ "media": { "url": "", "caption": "Marcia della Vittoria", "link": "/items/demo_0038.html" }, "start_date": { "year": "1929" }, "text": { "headline": "Marcia della Vittoria" } },{ "media": { "url": "", "caption": "Ginnastica Ritmica (Esercizio 1-2)", "link": "/items/demo_0039.html" }, "start_date": { "year": "1925" }, "text": { "headline": "Ginnastica Ritmica (Esercizio 1-2)", "text": "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)." } },{ "media": { "url": "", "caption": "Ginnastica Ritmica (Esercizio 3-4)", "link": "/items/demo_0040.html" }, "start_date": { "year": "1925" }, "text": { "headline": "Ginnastica Ritmica (Esercizio 3-4)", "text": "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)." } },{ "media": { "url": "", "caption": "Ginnastica Ritmica (Esercizio 5-6)", "link": "/items/demo_0041.html" }, "start_date": { "year": "1925" }, "text": { "headline": "Ginnastica Ritmica (Esercizio 5-6)", "text": "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)." } },{ "media": { "url": "", "caption": "Ginnastica Ritmica (Esercizio 7-8)", "link": "/items/demo_0042.html" }, "start_date": { "year": "1925" }, "text": { "headline": "Ginnastica Ritmica (Esercizio 7-8)", "text": "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)." } },{ "media": { "url": "", "caption": "Ginnastica Ritmica (Esercizio 9-10)", "link": "/items/demo_0043.html" }, "start_date": { "year": "1925" }, "text": { "headline": "Ginnastica Ritmica (Esercizio 9-10)", "text": "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)." } },{ "media": { "url": "", "caption": "Ginnastica Ritmica (Esercizio 11-12)", "link": "/items/demo_0044.html" }, "start_date": { "year": "1925" }, "text": { "headline": "Ginnastica Ritmica (Esercizio 11-12)", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0045.html" }, "start_date": { "year": "1926" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Balilla", "link": "/items/demo_0046.html" }, "start_date": { "year": "1926" }, "text": { "headline": "Balilla", "text": "This recording is included with others in its publisher's catalog in a section dedicated to children's records. " } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_0047.html" }, "start_date": { "year": "1925" }, "text": { "headline": "La leggenda del Piave", "text": "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. " } },{ "media": { "url": "", "caption": "La canzone del Grappa", "link": "/items/demo_0048.html" }, "start_date": { "year": "1925" }, "text": { "headline": "La canzone del Grappa", "text": "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. " } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_0049.html" }, "start_date": { "year": "1928" }, "text": { "headline": "La leggenda del Piave", "text": "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. " } },{ "media": { "url": "", "caption": "La canzone del Grappa", "link": "/items/demo_0050.html" }, "start_date": { "year": "1928" }, "text": { "headline": "La canzone del Grappa", "text": "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. " } },{ "media": { "url": "", "caption": "Saluto alla bandiera", "link": "/items/demo_0051.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Saluto alla bandiera", "text": "This recording is included with others in its publisher's catalog in a section dedicated to children's records. " } },{ "media": { "url": "", "caption": "Alpes", "link": "/items/demo_0052.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Alpes", "text": "This recording is included with others in its publisher's catalog in a section dedicated to children's records. " } },{ "media": { "url": "", "caption": "All'armi ! A noi, fascisti", "link": "/items/demo_0053.html" }, "start_date": { "year": "1929" }, "text": { "headline": "All'armi ! A noi, fascisti", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0054.html" }, "start_date": { "year": "1929" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Balilla (Inno dei fanciulli fascisti) ", "link": "/items/demo_0055.html" }, "start_date": { "year": "1927" }, "text": { "headline": "Balilla (Inno dei fanciulli fascisti) ", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0056.html" }, "start_date": { "year": "1927" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Inno delle piccole italiane", "link": "/items/demo_0057.html" }, "start_date": { "year": "1929" }, "text": { "headline": "Inno delle piccole italiane", "text": "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)." } },{ "media": { "url": "", "caption": "Saluto alla bandiera", "link": "/items/demo_0058.html" }, "start_date": { "year": "1929" }, "text": { "headline": "Saluto alla bandiera" } },{ "media": { "url": "", "caption": "Inno ufficiale della Somalia Italiana", "link": "/items/demo_0059.html" }, "start_date": { "year": "1927" }, "text": { "headline": "Inno ufficiale della Somalia Italiana", "text": "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. " } },{ "media": { "url": "", "caption": "La Marcia delle Legioni (Inno imperiale)", "link": "/items/demo_0060.html" }, "start_date": { "year": "1927" }, "text": { "headline": "La Marcia delle Legioni (Inno imperiale)", "text": "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." } },{ "media": { "url": "", "caption": "Mussolini", "link": "/items/demo_0061.html" }, "start_date": { "year": "1929" }, "text": { "headline": "Mussolini", "text": "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)." } },{ "media": { "url": "", "caption": "Erminia", "link": "/items/demo_0062.html" }, "start_date": { "year": "1929" }, "text": { "headline": "Erminia" } },{ "media": { "url": "", "caption": "Bombardamento di Adrianopoli", "link": "/items/demo_0063.html" }, "start_date": { "year": "1925" }, "text": { "headline": "Bombardamento di Adrianopoli", "text": "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." } },{ "media": { "url": "", "caption": "Definizione del futurismo", "link": "/items/demo_0064.html" }, "start_date": { "year": "1925" }, "text": { "headline": "Definizione del futurismo", "text": "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." } },{ "media": { "url": "", "caption": "Messagio di S.E. Benito Mussolini al popolo nord americano ed agli italiani d'America [1/4]", "link": "/items/demo_0065.html" }, "start_date": { "year": "1929" }, "text": { "headline": "Messagio di S.E. Benito Mussolini al popolo nord americano ed agli italiani d'America [1/4]", "text": "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." } },{ "media": { "url": "", "caption": "Messagio di S.E. Benito Mussolini al popolo nord americano ed agli italiani d'America [2/4]", "link": "/items/demo_0066.html" }, "start_date": { "year": "1929" }, "text": { "headline": "Messagio di S.E. Benito Mussolini al popolo nord americano ed agli italiani d'America [2/4]", "text": "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." } },{ "media": { "url": "", "caption": "Bimbe d'Italia", "link": "/items/demo_0067.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Bimbe d'Italia", "text": "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)." } },{ "media": { "url": "", "caption": "Inno Ufficiale delle Giovani Italiane", "link": "/items/demo_0068.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Inno Ufficiale delle Giovani Italiane", "text": "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)." } },{ "media": { "url": "", "caption": "Inno del Grappa", "link": "/items/demo_0069.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Inno del Grappa", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0070.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Bimbe d'Italia", "link": "/items/demo_0071.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Bimbe d'Italia", "text": "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. " } },{ "media": { "url": "", "caption": "Inno Ufficiale delle Giovani Italiane", "link": "/items/demo_0072.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Inno Ufficiale delle Giovani Italiane", "text": "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. " } },{ "media": { "url": "", "caption": "Marcia Reale", "link": "/items/demo_0073.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Marcia Reale", "text": "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. " } },{ "media": { "url": "", "caption": "Hymnu Sardo Nationali", "link": "/items/demo_0074.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Hymnu Sardo Nationali", "text": "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. " } },{ "media": { "url": "", "caption": "XI Febbraio (Inno della Conciliazione)", "link": "/items/demo_0075.html" }, "start_date": { "year": "1932" }, "text": { "headline": "XI Febbraio (Inno della Conciliazione)", "text": "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." } },{ "media": { "url": "", "caption": "Inno Pontifico", "link": "/items/demo_0076.html" }, "start_date": { "year": "1932" }, "text": { "headline": "Inno Pontifico", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0077.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Balilla !", "link": "/items/demo_0078.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Balilla !", "text": "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)." } },{ "media": { "url": "", "caption": "La canzone del Grappa", "link": "/items/demo_0079.html" }, "start_date": { "year": "1933" }, "text": { "headline": "La canzone del Grappa", "text": "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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_0080.html" }, "start_date": { "year": "1933" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Tantum ergo", "link": "/items/demo_0081.html" }, "start_date": { "year": "1932" }, "text": { "headline": "Tantum ergo", "text": "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." } },{ "media": { "url": "", "caption": "XI Febbraio (Inno della Conciliazione)", "link": "/items/demo_0082.html" }, "start_date": { "year": "1932" }, "text": { "headline": "XI Febbraio (Inno della Conciliazione)", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0083.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Inno del Decennale", "link": "/items/demo_0084.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Inno del Decennale", "text": "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)." } },{ "media": { "url": "", "caption": "Inno dei combattenti (Canto della Vittoria)", "link": "/items/demo_0085.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Inno dei combattenti (Canto della Vittoria)", "text": "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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_0086.html" }, "start_date": { "year": "1933" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Marcia del Littoriale (Marcia della M.V.S.N.)", "link": "/items/demo_0087.html" }, "start_date": { "year": "1932" }, "text": { "headline": "Marcia del Littoriale (Marcia della M.V.S.N.)", "text": "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)." } },{ "media": { "url": "", "caption": "Rusticanella (Quando passano le legioni)", "link": "/items/demo_0088.html" }, "start_date": { "year": "1932" }, "text": { "headline": "Rusticanella (Quando passano le legioni)", "text": "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)." } },{ "media": { "url": "", "caption": "Deambulazione, Marcia ginnastica; Doppiare e sdoppiare in marcia can \"La Canzone del Grappa\"", "link": "/items/demo_0089.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Deambulazione, Marcia ginnastica; Doppiare e sdoppiare in marcia can \"La Canzone del Grappa\"", "text": "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." } },{ "media": { "url": "", "caption": "Deambulazione, Marcia ginnastica; Segnare il passo; Ordinamento ternario in linea, con \"La leggenda del Piave\"", "link": "/items/demo_0090.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Deambulazione, Marcia ginnastica; Segnare il passo; Ordinamento ternario in linea, con \"La leggenda del Piave\"", "text": "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." } },{ "media": { "url": "", "caption": "Deambulazione, Evoluzioni in cadenza ordinaria; Doppiamento e sdoppiamento delle file con l'uso delle contromarcie, con la marcetta \"Per te sarò tenente\"", "link": "/items/demo_0091.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Deambulazione, Evoluzioni in cadenza ordinaria; Doppiamento e sdoppiamento delle file con l'uso delle contromarcie, con la marcetta \"Per te sarò tenente\"", "text": "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." } },{ "media": { "url": "", "caption": "Deambulazione, Evoluzioni in cadenza ordinaria con l'uso delle doppie contromarcie, con \" Le Aquile di Roma \"", "link": "/items/demo_0092.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Deambulazione, Evoluzioni in cadenza ordinaria con l'uso delle doppie contromarcie, con \" Le Aquile di Roma \"", "text": "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." } },{ "media": { "url": "", "caption": "Deambulazione, Marcia ginnastica libera individuale; Marcia ginnastica libera per coppie con la marcia \"Balilla\"", "link": "/items/demo_0093.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Deambulazione, Marcia ginnastica libera individuale; Marcia ginnastica libera per coppie con la marcia \"Balilla\"", "text": "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." } },{ "media": { "url": "", "caption": "Deambulazione, Corza cadenzata ginnastica, con la marcetta \"Per te sarò tenente\"", "link": "/items/demo_0094.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Deambulazione, Corza cadenzata ginnastica, con la marcetta \"Per te sarò tenente\"", "text": "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." } },{ "media": { "url": "", "caption": "Esercizi elementari educativi, Slancio degli arti inferiori; Piegamento sulle ginocchia (soli comandi senza orchestra)", "link": "/items/demo_0095.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Esercizi elementari educativi, Slancio degli arti inferiori; Piegamento sulle ginocchia (soli comandi senza orchestra)", "text": "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." } },{ "media": { "url": "", "caption": "Esercizi elementari educativi, Slancio degli arti inferiori (soli comandi senza orchestra)", "link": "/items/demo_0096.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Esercizi elementari educativi, Slancio degli arti inferiori (soli comandi senza orchestra)", "text": "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." } },{ "media": { "url": "", "caption": "La Guerra Aerochimica (Introduzione parte I)", "link": "/items/demo_0097.html" }, "start_date": { "year": "1934" }, "text": { "headline": "La Guerra Aerochimica (Introduzione parte I)", "text": "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)." } },{ "media": { "url": "", "caption": "La Guerra Aerochimica (Introduzione parte II)", "link": "/items/demo_0098.html" }, "start_date": { "year": "1934" }, "text": { "headline": "La Guerra Aerochimica (Introduzione parte II)", "text": "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)." } },{ "media": { "url": "", "caption": "La Guerra Aerochimica (Generalità)", "link": "/items/demo_0099.html" }, "start_date": { "year": "1934" }, "text": { "headline": "La Guerra Aerochimica (Generalità)", "text": "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)." } },{ "media": { "url": "", "caption": "La Guerra Aerochimica (I mezzi d'impiego degli aggressivi chimici)", "link": "/items/demo_0100.html" }, "start_date": { "year": "1934" }, "text": { "headline": "La Guerra Aerochimica (I mezzi d'impiego degli aggressivi chimici)", "text": "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)." } },{ "media": { "url": "", "caption": "La Guerra Aerochimica (La difesa individuale contro gli aggressivi chimici)", "link": "/items/demo_0101.html" }, "start_date": { "year": "1934" }, "text": { "headline": "La Guerra Aerochimica (La difesa individuale contro gli aggressivi chimici)", "text": "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)." } },{ "media": { "url": "", "caption": "La Guerra Aerochimica (La difesa collettiva contro gli aggressivi chimici)", "link": "/items/demo_0102.html" }, "start_date": { "year": "1934" }, "text": { "headline": "La Guerra Aerochimica (La difesa collettiva contro gli aggressivi chimici)", "text": "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)." } },{ "media": { "url": "", "caption": "La Guerra Aerochimica", "link": "/items/demo_0103.html" }, "start_date": { "year": "1934" }, "text": { "headline": "La Guerra Aerochimica", "text": "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)." } },{ "media": { "url": "", "caption": "La Guerra Aerochimica (La coscienza chimica)", "link": "/items/demo_0104.html" }, "start_date": { "year": "1934" }, "text": { "headline": "La Guerra Aerochimica (La coscienza chimica)", "text": "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)." } },{ "media": { "url": "", "caption": "XI Febbaio (Inno della Conciliazione)", "link": "/items/demo_0105.html" }, "start_date": { "year": "1934" }, "text": { "headline": "XI Febbaio (Inno della Conciliazione)", "text": "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." } },{ "media": { "url": "", "caption": "Tantum ergo", "link": "/items/demo_0106.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Tantum ergo", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0107.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Inno del Grappa", "link": "/items/demo_0108.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Inno del Grappa", "text": "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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_0109.html" }, "start_date": { "year": "1934" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Inno dei combattenti (Ufficiale) \"Canto della Vittoria\"", "link": "/items/demo_0110.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Inno dei combattenti (Ufficiale) \"Canto della Vittoria\"", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0111.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "All'armi ! A noi, fascisti", "link": "/items/demo_0112.html" }, "start_date": { "year": "1934" }, "text": { "headline": "All'armi ! A noi, fascisti", "text": "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." } },{ "media": { "url": "", "caption": "Inno Ufficiale delle Giovani Italiane", "link": "/items/demo_0113.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Inno Ufficiale delle Giovani Italiane", "text": "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)." } },{ "media": { "url": "", "caption": "Bimbe d'Italia", "link": "/items/demo_0114.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Bimbe d'Italia", "text": "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)." } },{ "media": { "url": "", "caption": "Inno all'amicizia Italo-Ungherese", "link": "/items/demo_0115.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Inno all'amicizia Italo-Ungherese", "text": "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." } },{ "media": { "url": "", "caption": "Inno alla bandiera", "link": "/items/demo_0116.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Inno alla bandiera" } },{ "media": { "url": "", "caption": "Inno Ufficiale della Terza Armata", "link": "/items/demo_0117.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Inno Ufficiale della Terza Armata" } },{ "media": { "url": "", "caption": "Dopolavoro", "link": "/items/demo_0118.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Dopolavoro", "text": "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)." } },{ "media": { "url": "", "caption": "Inno Ufficiale delle Giovani Italiane", "link": "/items/demo_0119.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Inno Ufficiale delle Giovani Italiane", "text": "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." } },{ "media": { "url": "", "caption": "Bimbe d'Italia", "link": "/items/demo_0120.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Bimbe d'Italia", "text": "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." } },{ "media": { "url": "", "caption": "Hymnu Sardo Nationali", "link": "/items/demo_0121.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Hymnu Sardo Nationali", "text": "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." } },{ "media": { "url": "", "caption": "Marcia Reale", "link": "/items/demo_0122.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Marcia Reale", "text": "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." } },{ "media": { "url": "", "caption": "Inno degli Universitari Fascisti", "link": "/items/demo_0123.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Inno degli Universitari Fascisti", "text": "This recording represents fascist university and student organizations." } },{ "media": { "url": "", "caption": "Marcia delle Legioni (Inno Imperiale)", "link": "/items/demo_0124.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Marcia delle Legioni (Inno Imperiale)", "text": "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." } },{ "media": { "url": "", "caption": "Inno dei Balilla Moschettieri", "link": "/items/demo_0125.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno dei Balilla Moschettieri", "text": "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)." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_0126.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Dux", "link": "/items/demo_0127.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Dux", "text": "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)." } },{ "media": { "url": "", "caption": "Canzone marinara", "link": "/items/demo_0128.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Canzone marinara", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0129.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "All'armi ! A noi, fascisti ", "link": "/items/demo_0130.html" }, "start_date": { "year": "1934" }, "text": { "headline": "All'armi ! A noi, fascisti ", "text": "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." } },{ "media": { "url": "", "caption": "Il Canto del lavoro", "link": "/items/demo_0131.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Il Canto del lavoro", "text": "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.\"" } },{ "media": { "url": "", "caption": "Marcia della Vittoria", "link": "/items/demo_0132.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Marcia della Vittoria" } },{ "media": { "url": "", "caption": "XI Febbaio (Inno della Conciliazione)", "link": "/items/demo_0133.html" }, "start_date": { "year": "1934" }, "text": { "headline": "XI Febbaio (Inno della Conciliazione)", "text": "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." } },{ "media": { "url": "", "caption": "Inno Pontifico", "link": "/items/demo_0134.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Inno Pontifico", "text": "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." } },{ "media": { "url": "", "caption": "Fanfara e Marcia reale", "link": "/items/demo_0135.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Fanfara e Marcia reale", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0136.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Inno ufficiale dei Giovani Fascisti", "link": "/items/demo_0137.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Inno ufficiale dei Giovani Fascisti", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "Inno ufficiale degli Studenti Universitari Fascisti", "link": "/items/demo_0138.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Inno ufficiale degli Studenti Universitari Fascisti", "text": "This recording represents fascist university and student organizations." } },{ "media": { "url": "", "caption": "Squillo Ufficiale delle Università d'Italia (in \" Si bem \")", "link": "/items/demo_0139.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Squillo Ufficiale delle Università d'Italia (in \" Si bem \")", "text": "This recording represents fascist university and student organizations." } },{ "media": { "url": "", "caption": "Inno ufficiale degli Studenti Universitari Fascisti", "link": "/items/demo_0140.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Inno ufficiale degli Studenti Universitari Fascisti", "text": "This recording represents fascist university and student organizations." } },{ "media": { "url": "", "caption": "Inno ufficiale della Somalia Italiana", "link": "/items/demo_0141.html" }, "start_date": { "year": "1927" }, "text": { "headline": "Inno ufficiale della Somalia Italiana", "text": "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. " } },{ "media": { "url": "", "caption": "La Marcia delle Legioni (Inno imperiale)", "link": "/items/demo_0142.html" }, "start_date": { "year": "1927" }, "text": { "headline": "La Marcia delle Legioni (Inno imperiale)", "text": "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." } },{ "media": { "url": "", "caption": "Balilla (Inno dei fanciulli fascisti)", "link": "/items/demo_0143.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Balilla (Inno dei fanciulli fascisti)", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0144.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0145.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Fanfara e Marcia reale", "link": "/items/demo_0146.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Fanfara e Marcia reale", "text": "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." } },{ "media": { "url": "", "caption": "Marcia Reale", "link": "/items/demo_0147.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Marcia Reale", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0148.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Marcia del Littoriale", "link": "/items/demo_0149.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Marcia del Littoriale", "text": "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)." } },{ "media": { "url": "", "caption": "Rusticanella", "link": "/items/demo_0150.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Rusticanella", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0151.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Inno del Decennale", "link": "/items/demo_0152.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Inno del Decennale", "text": "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)." } },{ "media": { "url": "", "caption": "Inno dei Balilla Escursionisti", "link": "/items/demo_0153.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno dei Balilla Escursionisti", "text": "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)." } },{ "media": { "url": "", "caption": "Inno dei Balilla Moschettieri", "link": "/items/demo_0154.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno dei Balilla Moschettieri", "text": "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)." } },{ "media": { "url": "", "caption": "Balilla", "link": "/items/demo_0155.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Balilla", "text": "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)." } },{ "media": { "url": "", "caption": "Bimbe d'Italia", "link": "/items/demo_0156.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Bimbe d'Italia", "text": "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)." } },{ "media": { "url": "", "caption": "Inno del Finanziere", "link": "/items/demo_0157.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno del Finanziere", "text": "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." } },{ "media": { "url": "", "caption": "Preghiera del finanziere", "link": "/items/demo_0158.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Preghiera del finanziere", "text": "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." } },{ "media": { "url": "", "caption": "La Preghiera della Patria ", "link": "/items/demo_0159.html" }, "start_date": { "year": "1935" }, "text": { "headline": "La Preghiera della Patria " } },{ "media": { "url": "", "caption": "Inno al fante", "link": "/items/demo_0160.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno al fante" } },{ "media": { "url": "", "caption": "Alla Milizia Fascista", "link": "/items/demo_0161.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Alla Milizia Fascista", "text": "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)." } },{ "media": { "url": "", "caption": "Marcia militare (Su spunti melodici del \" Finanziere \")", "link": "/items/demo_0162.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Marcia militare (Su spunti melodici del \" Finanziere \")", "text": "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." } },{ "media": { "url": "", "caption": "Erminia", "link": "/items/demo_0163.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Erminia" } },{ "media": { "url": "", "caption": "Mussolini (Marcia trionfale)", "link": "/items/demo_0164.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Mussolini (Marcia trionfale)", "text": "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)." } },{ "media": { "url": "", "caption": "Rex", "link": "/items/demo_0165.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Rex" } },{ "media": { "url": "", "caption": "Littoria", "link": "/items/demo_0166.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Littoria", "text": "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\"." } },{ "media": { "url": "", "caption": "Frecce nere (Canzone dedicata ai legionari di Spagna)", "link": "/items/demo_0167.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Frecce nere (Canzone dedicata ai legionari di Spagna)", "text": "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." } },{ "media": { "url": "", "caption": "Spagonlita (Canzone dedicata al Gen. Franco)", "link": "/items/demo_0168.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Spagonlita (Canzone dedicata al Gen. Franco)", "text": "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." } },{ "media": { "url": "", "caption": "Guadalajara (Canzone dedicata alle eroiche \"Frecce nere\" delle Legioni di Spagna)", "link": "/items/demo_0169.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Guadalajara (Canzone dedicata alle eroiche \"Frecce nere\" delle Legioni di Spagna)", "text": "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." } },{ "media": { "url": "", "caption": "Spagnolita (Canzone dedicata al Gen. Franco)", "link": "/items/demo_0170.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Spagnolita (Canzone dedicata al Gen. Franco)", "text": "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." } },{ "media": { "url": "", "caption": "Bimbe d'Italia", "link": "/items/demo_0171.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Bimbe d'Italia", "text": "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)." } },{ "media": { "url": "", "caption": "Saluto al Duce !", "link": "/items/demo_0172.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Saluto al Duce !", "text": "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)." } },{ "media": { "url": "", "caption": "Frecce nere", "link": "/items/demo_0173.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Frecce nere", "text": "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." } },{ "media": { "url": "", "caption": "La Canzone di Maria Uva ", "link": "/items/demo_0174.html" }, "start_date": { "year": "1937" }, "text": { "headline": "La Canzone di Maria Uva ", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_0175.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Rusticanella", "link": "/items/demo_0176.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Rusticanella", "text": "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)." } },{ "media": { "url": "", "caption": "Gioventù d'Italia", "link": "/items/demo_0177.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Gioventù d'Italia" } },{ "media": { "url": "", "caption": "Sfilano le armate vittoriose", "link": "/items/demo_0178.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sfilano le armate vittoriose" } },{ "media": { "url": "", "caption": "I Bersaglieri Neri - \"La Canzone dei Dubat \"", "link": "/items/demo_0179.html" }, "start_date": { "year": "1936" }, "text": { "headline": "I Bersaglieri Neri - \"La Canzone dei Dubat \"", "text": "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. " } },{ "media": { "url": "", "caption": "L'Arafa al Villaggio Ducca degli Abruzzi", "link": "/items/demo_0180.html" }, "start_date": { "year": "1936" }, "text": { "headline": "L'Arafa al Villaggio Ducca degli Abruzzi", "text": "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. " } },{ "media": { "url": "", "caption": "Ala Imperiale \"Ala d'Italia\"", "link": "/items/demo_0181.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ala Imperiale \"Ala d'Italia\"", "text": "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]" } },{ "media": { "url": "", "caption": "Inno Ufficiale dei Combattenti", "link": "/items/demo_0182.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno Ufficiale dei Combattenti" } },{ "media": { "url": "", "caption": "Combattenti a noi", "link": "/items/demo_0183.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Combattenti a noi", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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" } },{ "media": { "url": "", "caption": "Diana d'Italia (Inno A.O.)", "link": "/items/demo_0184.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Diana d'Italia (Inno A.O.)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Duce, a noi !", "link": "/items/demo_0185.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Duce, a noi !", "text": "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)." } },{ "media": { "url": "", "caption": "Inno imperiale", "link": "/items/demo_0186.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno imperiale", "text": "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." } },{ "media": { "url": "", "caption": "Duce, a noi !", "link": "/items/demo_0187.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Duce, a noi !", "text": "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)." } },{ "media": { "url": "", "caption": "Inno dei combattenti d'Italia", "link": "/items/demo_0188.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno dei combattenti d'Italia" } },{ "media": { "url": "", "caption": "Etiopia", "link": "/items/demo_0189.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Etiopia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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 \"." } },{ "media": { "url": "", "caption": "Sappiamo tre parole", "link": "/items/demo_0190.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sappiamo tre parole", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Fanti d'Italia avanti !…", "link": "/items/demo_0191.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Fanti d'Italia avanti !…" } },{ "media": { "url": "", "caption": "Sanzionismo", "link": "/items/demo_0192.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sanzionismo", "text": "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. " } },{ "media": { "url": "", "caption": "Giovani Fascisti", "link": "/items/demo_0193.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Giovani Fascisti", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_0194.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Inno dei Figli della Lupa", "link": "/items/demo_0195.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno dei Figli della Lupa", "text": "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)." } },{ "media": { "url": "", "caption": "Rataplan della vittoria", "link": "/items/demo_0196.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Rataplan della vittoria", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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 \"." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_0197.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_0198.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_0199.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Macallè (\" Ritorna Galliano \")", "link": "/items/demo_0200.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Macallè (\" Ritorna Galliano \")", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_0201.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Vieni a Macallè", "link": "/items/demo_0202.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Vieni a Macallè", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Canzone dell'Impero (Italia in marcia)", "link": "/items/demo_0203.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canzone dell'Impero (Italia in marcia)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Vittoria", "link": "/items/demo_0204.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Vittoria", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Eritrea (marcia orientale) [1/2]", "link": "/items/demo_0205.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Eritrea (marcia orientale) [1/2]", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Eritrea (marcia orientale) [2/2]", "link": "/items/demo_0206.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Eritrea (marcia orientale) [2/2]", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Impero fascista", "link": "/items/demo_0207.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Impero fascista" } },{ "media": { "url": "", "caption": "Tramonti Somali", "link": "/items/demo_0208.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Tramonti Somali", "text": "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. " } },{ "media": { "url": "", "caption": "Italia ha vinto", "link": "/items/demo_0209.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Italia ha vinto", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "La Canzone del volontario", "link": "/items/demo_0210.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La Canzone del volontario", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Madonnina degli aviatori", "link": "/items/demo_0211.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Madonnina degli aviatori", "text": "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]" } },{ "media": { "url": "", "caption": "Leggenda eroica", "link": "/items/demo_0212.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Leggenda eroica", "text": "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]" } },{ "media": { "url": "", "caption": "Uscita del Ten. Col. Galliano dal Forte di Macallè (22-1-1896)", "link": "/items/demo_0213.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Uscita del Ten. Col. Galliano dal Forte di Macallè (22-1-1896)", "text": "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." } },{ "media": { "url": "", "caption": "Macallè (…Ritorna Galliano !…)", "link": "/items/demo_0214.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Macallè (…Ritorna Galliano !…)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Uscita del Ten. Col. Galliano dal Forte di Macallè (22-1-1896)", "link": "/items/demo_0215.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Uscita del Ten. Col. Galliano dal Forte di Macallè (22-1-1896)", "text": "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." } },{ "media": { "url": "", "caption": "Entrata del colonnello Broglia nel forte di Macallè (1935)", "link": "/items/demo_0216.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Entrata del colonnello Broglia nel forte di Macallè (1935)", "text": "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." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione I-II, esercizi grammaticali", "link": "/items/demo_0217.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione I-II, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione I-II, esercizi grammaticali", "link": "/items/demo_0218.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione I-II, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione III-IV, esercizi grammaticali", "link": "/items/demo_0219.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione III-IV, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione III-IV, esercizi grammaticali", "link": "/items/demo_0220.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione III-IV, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione V-VI, esercizi grammaticali", "link": "/items/demo_0221.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione V-VI, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione V-VI, esercizi grammaticali", "link": "/items/demo_0222.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione V-VI, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione VII-VIII, esercizi grammaticali", "link": "/items/demo_0223.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione VII-VIII, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione VII-VIII, esercizi grammaticali", "link": "/items/demo_0224.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione VII-VIII, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione IX-X, esercizi grammaticali", "link": "/items/demo_0225.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione IX-X, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione IX-X, esercizi grammaticali", "link": "/items/demo_0226.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione IX-X, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XI-XII, esercizi grammaticali", "link": "/items/demo_0227.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XI-XII, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XI-XII, esercizi grammaticali", "link": "/items/demo_0228.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XI-XII, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XIII-XIV, esercizi grammaticali", "link": "/items/demo_0229.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XIII-XIV, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XIII-XIV, esercizi grammaticali", "link": "/items/demo_0230.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XIII-XIV, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XV-XVI, Lettura e conversazione", "link": "/items/demo_0231.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XV-XVI, Lettura e conversazione", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XV-XVI, Lettura e conversazione", "link": "/items/demo_0232.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XV-XVI, Lettura e conversazione", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XVII-XVIII, Lettura e conversazione", "link": "/items/demo_0233.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XVII-XVIII, Lettura e conversazione", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XVII-XVIII, Lettura e conversazione", "link": "/items/demo_0234.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XVII-XVIII, Lettura e conversazione", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XIX-XX, Lettura e conversazione", "link": "/items/demo_0235.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XIX-XX, Lettura e conversazione", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XIX-XX, Lettura e conversazione", "link": "/items/demo_0236.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua AHMARICA (in 20 lezioni) - Lezione XIX-XX, Lettura e conversazione", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua GALLA (in 12 lezioni) - Lezione I-II, esercizi grammaticali", "link": "/items/demo_0237.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua GALLA (in 12 lezioni) - Lezione I-II, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua GALLA (in 12 lezioni) - Lezione I-II, esercizi grammaticali", "link": "/items/demo_0238.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua GALLA (in 12 lezioni) - Lezione I-II, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua GALLA (in 12 lezioni) - Lezione III-IV, esercizi grammaticali", "link": "/items/demo_0239.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua GALLA (in 12 lezioni) - Lezione III-IV, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua GALLA (in 12 lezioni) - Lezione III-IV, esercizi grammaticali", "link": "/items/demo_0240.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua GALLA (in 12 lezioni) - Lezione III-IV, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua GALLA (in 12 lezioni) - Lezione V-VI, esercizi grammaticali", "link": "/items/demo_0241.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua GALLA (in 12 lezioni) - Lezione V-VI, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua GALLA (in 12 lezioni) - Lezione V-VI, esercizi grammaticali", "link": "/items/demo_0242.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua GALLA (in 12 lezioni) - Lezione V-VI, esercizi grammaticali", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua GALLA (in 12 lezioni) - Lezione VII-VIII, lettura e conversazione", "link": "/items/demo_0243.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua GALLA (in 12 lezioni) - Lezione VII-VIII, lettura e conversazione", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua GALLA (in 12 lezioni) - Lezione VII-VIII, lettura e conversazione", "link": "/items/demo_0244.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua GALLA (in 12 lezioni) - Lezione VII-VIII, lettura e conversazione", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua GALLA (in 12 lezioni) - Lezione IX-X, lettura e conversazione", "link": "/items/demo_0245.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua GALLA (in 12 lezioni) - Lezione IX-X, lettura e conversazione", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua GALLA (in 12 lezioni) - Lezione IX-X, lettura e conversazione", "link": "/items/demo_0246.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua GALLA (in 12 lezioni) - Lezione IX-X, lettura e conversazione", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua GALLA (in 12 lezioni) - Lezione XI-XII, lettura e conversazione", "link": "/items/demo_0247.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua GALLA (in 12 lezioni) - Lezione XI-XII, lettura e conversazione", "text": "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)." } },{ "media": { "url": "", "caption": "Corso di langua GALLA (in 12 lezioni) - Lezione XI-XII, lettura e conversazione", "link": "/items/demo_0248.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Corso di langua GALLA (in 12 lezioni) - Lezione XI-XII, lettura e conversazione", "text": "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)." } },{ "media": { "url": "", "caption": "Consigli pratici di protezione antiaerea, Generalità", "link": "/items/demo_0249.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Consigli pratici di protezione antiaerea, Generalità", "text": "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. " } },{ "media": { "url": "", "caption": "Consigli pratici di protezione antiaerea, Sfollamento e oscuramento", "link": "/items/demo_0250.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Consigli pratici di protezione antiaerea, Sfollamento e oscuramento", "text": "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. " } },{ "media": { "url": "", "caption": "Protezione anti-incendi. Rifugi", "link": "/items/demo_0251.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Protezione anti-incendi. Rifugi", "text": "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. " } },{ "media": { "url": "", "caption": "Organizzazione ausiliara volontaria, Generalità", "link": "/items/demo_0252.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Organizzazione ausiliara volontaria, Generalità", "text": "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. " } },{ "media": { "url": "", "caption": "Organizzazione ausiliara volontaria, Norme da seguire", "link": "/items/demo_0253.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Organizzazione ausiliara volontaria, Norme da seguire", "text": "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. " } },{ "media": { "url": "", "caption": "Organizzazione ausiliara volontaria, Conclusione", "link": "/items/demo_0254.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Organizzazione ausiliara volontaria, Conclusione", "text": "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. " } },{ "media": { "url": "", "caption": "Leggenda eroica", "link": "/items/demo_0255.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Leggenda eroica", "text": "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]" } },{ "media": { "url": "", "caption": "\"Carme secolare\" di Orazio (Primo inno del popolo Italiano, A. 17 avanti Cristo)", "link": "/items/demo_0256.html" }, "start_date": { "year": "1936" }, "text": { "headline": "\"Carme secolare\" di Orazio (Primo inno del popolo Italiano, A. 17 avanti Cristo)", "text": "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." } },{ "media": { "url": "", "caption": "L’Italia ha vinto", "link": "/items/demo_0257.html" }, "start_date": { "year": "1936" }, "text": { "headline": "L’Italia ha vinto", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "È finito il bel tempo che fu", "link": "/items/demo_0258.html" }, "start_date": { "year": "1936" }, "text": { "headline": "È finito il bel tempo che fu", "text": "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. " } },{ "media": { "url": "", "caption": "Addis… Addis Abeba (sull'aria de \"La bella Gigiggin\" - tratta dal'ora radiofonica del \"Guf\" di Torino littoriale A. XIV)", "link": "/items/demo_0259.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Addis… Addis Abeba (sull'aria de \"La bella Gigiggin\" - tratta dal'ora radiofonica del \"Guf\" di Torino littoriale A. XIV)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "O bionda Albione (tratta dal'ora radiofonica del \"Guf\" di Torino littoriale A. XIV con trio vocale)", "link": "/items/demo_0260.html" }, "start_date": { "year": "1936" }, "text": { "headline": "O bionda Albione (tratta dal'ora radiofonica del \"Guf\" di Torino littoriale A. XIV con trio vocale)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Alla stazione", "link": "/items/demo_0261.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Alla stazione", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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.)" } },{ "media": { "url": "", "caption": "Strofette africane", "link": "/items/demo_0262.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Strofette africane", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_0263.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Macallè (…Ritorna Galliano !…)", "link": "/items/demo_0264.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Macallè (…Ritorna Galliano !…)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Africanina (Pupetta nera)", "link": "/items/demo_0265.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Africanina (Pupetta nera)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Rantanplan delle camicie nere", "link": "/items/demo_0266.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Rantanplan delle camicie nere" } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_0267.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Ti saluto !… (…vado in Abissinia)", "link": "/items/demo_0268.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Ti saluto !… (…vado in Abissinia)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Cara mamma (lettera di un soldato)", "link": "/items/demo_0269.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Cara mamma (lettera di un soldato)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_0270.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Battaglioni", "link": "/items/demo_0271.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Battaglioni" } },{ "media": { "url": "", "caption": "Macallè (…Ritorna Galliano !…)", "link": "/items/demo_0272.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Macallè (…Ritorna Galliano !…)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Arriva il Negus", "link": "/items/demo_0273.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Arriva il Negus", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Ti porto in Italia", "link": "/items/demo_0274.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ti porto in Italia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Arriva il Negus", "link": "/items/demo_0275.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Arriva il Negus", "text": "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." } },{ "media": { "url": "", "caption": "Stornelli grigi", "link": "/items/demo_0276.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Stornelli grigi", "text": "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. " } },{ "media": { "url": "", "caption": "Battaglioni", "link": "/items/demo_0277.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Battaglioni" } },{ "media": { "url": "", "caption": "Macallè (…Ritorna Galliano !…)", "link": "/items/demo_0278.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Macallè (…Ritorna Galliano !…)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Ti saluto !… (vado in Abissinia)", "link": "/items/demo_0279.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Ti saluto !… (vado in Abissinia)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Solo un istante", "link": "/items/demo_0280.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Solo un istante" } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_0281.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Nostalgia Napoletana", "link": "/items/demo_0282.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Nostalgia Napoletana" } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_0283.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Ti chiami amore", "link": "/items/demo_0284.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ti chiami amore", "text": "Du film \"Mazurka Tragica\" ; Rid. Domina-Rameau" } },{ "media": { "url": "", "caption": "L’Ha detto Mussolini", "link": "/items/demo_0285.html" }, "start_date": { "year": "1936" }, "text": { "headline": "L’Ha detto Mussolini", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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)." } },{ "media": { "url": "", "caption": "Voce lontana", "link": "/items/demo_0286.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Voce lontana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "In Africa si va ", "link": "/items/demo_0287.html" }, "start_date": { "year": "1936" }, "text": { "headline": "In Africa si va ", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Stornelli neri", "link": "/items/demo_0288.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Stornelli neri", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "I Bersaglieri Neri - \"La Canzone dei Dubat\"", "link": "/items/demo_0289.html" }, "start_date": { "year": "1936" }, "text": { "headline": "I Bersaglieri Neri - \"La Canzone dei Dubat\"", "text": "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. " } },{ "media": { "url": "", "caption": "Serenata a Ginevra", "link": "/items/demo_0290.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Serenata a Ginevra", "text": "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. " } },{ "media": { "url": "", "caption": "Ci rivedremo… (A Addis Abeba !)", "link": "/items/demo_0291.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ci rivedremo… (A Addis Abeba !)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Sul lago Tana", "link": "/items/demo_0292.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sul lago Tana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "La Madonnina degli aviatori", "link": "/items/demo_0293.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La Madonnina degli aviatori", "text": "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]" } },{ "media": { "url": "", "caption": "La Marcia della Vittoria", "link": "/items/demo_0294.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La Marcia della Vittoria" } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0295.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_0296.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_0297.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Rusticanella", "link": "/items/demo_0298.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Rusticanella", "text": "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)." } },{ "media": { "url": "", "caption": "700 km, all'ora (dall'aeropoema futurista del Golfo de la Spezia)", "link": "/items/demo_0299.html" }, "start_date": { "year": "1935" }, "text": { "headline": "700 km, all'ora (dall'aeropoema futurista del Golfo de la Spezia)", "text": "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." } },{ "media": { "url": "", "caption": "Spiralando sul porto di Napoli (aeropoesia futurista)", "link": "/items/demo_0300.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Spiralando sul porto di Napoli (aeropoesia futurista)", "text": "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." } },{ "media": { "url": "", "caption": "Il bombardamento di Adrianopoli (parole in libertà futuriste)", "link": "/items/demo_0301.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Il bombardamento di Adrianopoli (parole in libertà futuriste)", "text": "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." } },{ "media": { "url": "", "caption": "Ritratto olfattivo di una donna (parole in libertà futuriste)", "link": "/items/demo_0302.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Ritratto olfattivo di una donna (parole in libertà futuriste)", "text": "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." } },{ "media": { "url": "", "caption": "Corso di lingua LATINA - Lezione I- fonologia, morfologia, I declinazione", "link": "/items/demo_0303.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Corso di lingua LATINA - Lezione I- fonologia, morfologia, I declinazione", "text": "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." } },{ "media": { "url": "", "caption": "Corso di lingua LATINA - Lezione II, Il declinazione, aggettivi di I et II declinazione", "link": "/items/demo_0304.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Corso di lingua LATINA - Lezione II, Il declinazione, aggettivi di I et II declinazione", "text": "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." } },{ "media": { "url": "", "caption": "Corso di lingua LATINA - Lezione III, III declinazione, particolarità", "link": "/items/demo_0305.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Corso di lingua LATINA - Lezione III, III declinazione, particolarità", "text": "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." } },{ "media": { "url": "", "caption": "Corso di lingua LATINA - Lezione IV, IV e V declinazione, sintassi", "link": "/items/demo_0306.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Corso di lingua LATINA - Lezione IV, IV e V declinazione, sintassi", "text": "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." } },{ "media": { "url": "", "caption": "Corso di lingua LATINA - Lezione V, aggettivi di III declinazione, comparativo e superlativo", "link": "/items/demo_0307.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Corso di lingua LATINA - Lezione V, aggettivi di III declinazione, comparativo e superlativo", "text": "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." } },{ "media": { "url": "", "caption": "Corso di lingua LATINA - Lezione VI, sintassi elementare, complementi e verbi", "link": "/items/demo_0308.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Corso di lingua LATINA - Lezione VI, sintassi elementare, complementi e verbi", "text": "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." } },{ "media": { "url": "", "caption": "Corso di lingua LATINA - Lezione VII, i numerali", "link": "/items/demo_0309.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Corso di lingua LATINA - Lezione VII, i numerali", "text": "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." } },{ "media": { "url": "", "caption": "Corso di lingua LATINA - Lezione VIII, i pronomi", "link": "/items/demo_0310.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Corso di lingua LATINA - Lezione VIII, i pronomi", "text": "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." } },{ "media": { "url": "", "caption": "Corso di lingua LATINA - Lezione IX, il verbo, nozioni generali e formazioni dei tempi", "link": "/items/demo_0311.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Corso di lingua LATINA - Lezione IX, il verbo, nozioni generali e formazioni dei tempi", "text": "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." } },{ "media": { "url": "", "caption": "Corso di lingua LATINA - Lezione X, Coniugazione del verbo Sum, composti Possum", "link": "/items/demo_0312.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Corso di lingua LATINA - Lezione X, Coniugazione del verbo Sum, composti Possum", "text": "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." } },{ "media": { "url": "", "caption": "Corso di lingua LATINA - Lezione XI, verbi attivi Amo e Moneo", "link": "/items/demo_0313.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Corso di lingua LATINA - Lezione XI, verbi attivi Amo e Moneo", "text": "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." } },{ "media": { "url": "", "caption": "Corso di lingua LATINA - Lezione XII, verbi attivi Lego e Audio", "link": "/items/demo_0314.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Corso di lingua LATINA - Lezione XII, verbi attivi Lego e Audio", "text": "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." } },{ "media": { "url": "", "caption": "Cantate di legionari", "link": "/items/demo_0315.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Cantate di legionari", "text": "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." } },{ "media": { "url": "", "caption": "Quando suona la banda", "link": "/items/demo_0316.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Quando suona la banda" } },{ "media": { "url": "", "caption": "Canto del Dopolavoristi", "link": "/items/demo_0317.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Canto del Dopolavoristi", "text": "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)." } },{ "media": { "url": "", "caption": "Ama lo sport", "link": "/items/demo_0318.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ama lo sport", "text": "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)." } },{ "media": { "url": "", "caption": "Canto dei Volontari", "link": "/items/demo_0319.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Canto dei Volontari", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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 \"." } },{ "media": { "url": "", "caption": "Ti saluto !… (…vado in Abissinia)", "link": "/items/demo_0320.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ti saluto !… (…vado in Abissinia)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "C'era una volta il Negus !", "link": "/items/demo_0321.html" }, "start_date": { "year": "1936" }, "text": { "headline": "C'era una volta il Negus !", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "È arrivato il signor Tafari", "link": "/items/demo_0322.html" }, "start_date": { "year": "1936" }, "text": { "headline": "È arrivato il signor Tafari", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Strofette abissine", "link": "/items/demo_0323.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Strofette abissine", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Stornelli amari", "link": "/items/demo_0324.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Stornelli amari", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Una volta… non c'era Mussolini !", "link": "/items/demo_0325.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Una volta… non c'era Mussolini !", "text": "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)." } },{ "media": { "url": "", "caption": "Marchesa… se permette…", "link": "/items/demo_0326.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Marchesa… se permette…" } },{ "media": { "url": "", "caption": "Una volta… non c'era Mussolini !", "link": "/items/demo_0327.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Una volta… non c'era Mussolini !", "text": "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)." } },{ "media": { "url": "", "caption": "Marchesa… se permette…", "link": "/items/demo_0328.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Marchesa… se permette…" } },{ "media": { "url": "", "caption": "Giovani fascisti", "link": "/items/demo_0329.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Giovani fascisti", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "Saluto al Duce", "link": "/items/demo_0330.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Saluto al Duce", "text": "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)." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_0331.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Inno al lavoro (Inno patriottico)", "link": "/items/demo_0332.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Inno al lavoro (Inno patriottico)", "text": "This song is from the movie \"Umbria Verde\"." } },{ "media": { "url": "", "caption": "Amanti simultanei (Romanzo futurista discato) [1/2]", "link": "/items/demo_0333.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Amanti simultanei (Romanzo futurista discato) [1/2]", "text": "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." } },{ "media": { "url": "", "caption": "Amanti simultanei (Romanzo futurista discato) [2/2]", "link": "/items/demo_0334.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Amanti simultanei (Romanzo futurista discato) [2/2]", "text": "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." } },{ "media": { "url": "", "caption": "Sintesi musicale. P. I. le macchine, l'infinito, il mare", "link": "/items/demo_0335.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Sintesi musicale. P. I. le macchine, l'infinito, il mare", "text": "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." } },{ "media": { "url": "", "caption": "Sintesi musicale. P.II, la festa dei motori, amanti in volo, battaglia simultanea di terra, mare e cielo", "link": "/items/demo_0336.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Sintesi musicale. P.II, la festa dei motori, amanti in volo, battaglia simultanea di terra, mare e cielo", "text": "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." } },{ "media": { "url": "", "caption": "Ti porto in Italia", "link": "/items/demo_0337.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ti porto in Italia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Oili ! Oila ! (Tarentella abbissina)", "link": "/items/demo_0338.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Oili ! Oila ! (Tarentella abbissina)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Inno all’Impero", "link": "/items/demo_0339.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno all’Impero" } },{ "media": { "url": "", "caption": "O Roma ! O Roma", "link": "/items/demo_0340.html" }, "start_date": { "year": "1939" }, "text": { "headline": "O Roma ! O Roma", "text": "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." } },{ "media": { "url": "", "caption": "O Roma ! O Roma", "link": "/items/demo_0341.html" }, "start_date": { "year": "1939" }, "text": { "headline": "O Roma ! O Roma", "text": "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." } },{ "media": { "url": "", "caption": "Invocazione", "link": "/items/demo_0342.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Invocazione" } },{ "media": { "url": "", "caption": "Inno dell'Impero", "link": "/items/demo_0343.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno dell'Impero" } },{ "media": { "url": "", "caption": "Preghiera del legionario prima della Battaglia", "link": "/items/demo_0344.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Preghiera del legionario prima della Battaglia", "text": "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." } },{ "media": { "url": "", "caption": "Inno Uff. dei Giovani Fascisti", "link": "/items/demo_0345.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno Uff. dei Giovani Fascisti", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "Studenti Universitari Fascisti", "link": "/items/demo_0346.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Studenti Universitari Fascisti", "text": "This recording represents fascist university and student organizations." } },{ "media": { "url": "", "caption": "Marcia Reale Italiana", "link": "/items/demo_0347.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Marcia Reale Italiana", "text": "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." } },{ "media": { "url": "", "caption": "4° Artigliera", "link": "/items/demo_0348.html" }, "start_date": { "year": "1939" }, "text": { "headline": "4° Artigliera" } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_0349.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Adua" } },{ "media": { "url": "", "caption": "Segnale militare", "link": "/items/demo_0350.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Segnale militare" } },{ "media": { "url": "", "caption": "Cara al sol", "link": "/items/demo_0351.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Cara al sol", "text": "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." } },{ "media": { "url": "", "caption": "Torna Siviglia", "link": "/items/demo_0352.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Torna Siviglia", "text": "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." } },{ "media": { "url": "", "caption": "Cirene (militare)", "link": "/items/demo_0353.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Cirene (militare)" } },{ "media": { "url": "", "caption": "4° Artigliera", "link": "/items/demo_0354.html" }, "start_date": { "year": "1939" }, "text": { "headline": "4° Artigliera" } },{ "media": { "url": "", "caption": "Giovinezza !… (Inno ufficiale Fascista)", "link": "/items/demo_0355.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Giovinezza !… (Inno ufficiale Fascista)", "text": "\"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)." } },{ "media": { "url": "", "caption": "Inno dell'Impero", "link": "/items/demo_0356.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Inno dell'Impero" } },{ "media": { "url": "", "caption": "Dux", "link": "/items/demo_0357.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Dux", "text": "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)." } },{ "media": { "url": "", "caption": "Preghiera Italica", "link": "/items/demo_0358.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Preghiera Italica" } },{ "media": { "url": "", "caption": "Mister Churchill… come va ? (Tutto va ben, tutto va ben) - canzone satirica", "link": "/items/demo_0359.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Mister Churchill… come va ? (Tutto va ben, tutto va ben) - canzone satirica", "text": "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)." } },{ "media": { "url": "", "caption": "Serenatone (per la perfida Albione - canzone satirica)", "link": "/items/demo_0360.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Serenatone (per la perfida Albione - canzone satirica)", "text": "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)." } },{ "media": { "url": "", "caption": "Vincere", "link": "/items/demo_0361.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Vincere", "text": "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)." } },{ "media": { "url": "", "caption": "T'aspetto a Tunisi", "link": "/items/demo_0362.html" }, "start_date": { "year": "1940" }, "text": { "headline": "T'aspetto a Tunisi", "text": "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)." } },{ "media": { "url": "", "caption": "Vincere", "link": "/items/demo_0363.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Vincere", "text": "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)." } },{ "media": { "url": "", "caption": "Stella garibaldina", "link": "/items/demo_0364.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Stella garibaldina", "text": "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)." } },{ "media": { "url": "", "caption": "Etiopia", "link": "/items/demo_0365.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Etiopia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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 \"." } },{ "media": { "url": "", "caption": "Mediterraneo", "link": "/items/demo_0366.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Mediterraneo", "text": "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)." } },{ "media": { "url": "", "caption": "Inno ai mutilati di guerra", "link": "/items/demo_0367.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Inno ai mutilati di guerra", "text": "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)." } },{ "media": { "url": "", "caption": "Vincere", "link": "/items/demo_0368.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Vincere", "text": "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)." } },{ "media": { "url": "", "caption": "Inno della 13a Batteria C.a. \"Corridoni\"", "link": "/items/demo_0369.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Inno della 13a Batteria C.a. \"Corridoni\"", "text": "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)." } },{ "media": { "url": "", "caption": "Vincere, Vincere, Vincere", "link": "/items/demo_0370.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Vincere, Vincere, Vincere", "text": "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)." } },{ "media": { "url": "", "caption": "È cosi bello esser soldato, Rosamaria (Es est so schön Soldat zu sein, Rosemarie)", "link": "/items/demo_0371.html" }, "start_date": { "year": "1941" }, "text": { "headline": "È cosi bello esser soldato, Rosamaria (Es est so schön Soldat zu sein, Rosemarie)", "text": "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)." } },{ "media": { "url": "", "caption": "Canto di marinai (e noi navigliamo verso l'Inghilterra) - Maltrosenlied (und wirfarhen gegen Engelland)", "link": "/items/demo_0372.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Canto di marinai (e noi navigliamo verso l'Inghilterra) - Maltrosenlied (und wirfarhen gegen Engelland)", "text": "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)." } },{ "media": { "url": "", "caption": "Camerata marciamo verso Occidente (Kammarad, wir marschieren im Western) - canto delle terre liberate", "link": "/items/demo_0373.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Camerata marciamo verso Occidente (Kammarad, wir marschieren im Western) - canto delle terre liberate", "text": "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)." } },{ "media": { "url": "", "caption": "Bombe sull’Inghilterra (Bomben auf Engelland)", "link": "/items/demo_0374.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Bombe sull’Inghilterra (Bomben auf Engelland)", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0377.html" }, "start_date": { "year": "1932" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Leggenda Marina", "link": "/items/demo_0378.html" }, "start_date": { "year": "1932" }, "text": { "headline": "Leggenda Marina" } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0379.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Marcia Reale Italiana", "link": "/items/demo_0380.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Marcia Reale Italiana", "text": "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." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_0381.html" }, "start_date": { "year": "1932" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Inno al Duce", "link": "/items/demo_0382.html" }, "start_date": { "year": "1932" }, "text": { "headline": "Inno al Duce", "text": "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)." } },{ "media": { "url": "", "caption": "Sul cappello", "link": "/items/demo_0383.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Sul cappello", "text": "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)." } },{ "media": { "url": "", "caption": "La marcia delle legioni", "link": "/items/demo_0384.html" }, "start_date": { "year": "1935" }, "text": { "headline": "La marcia delle legioni", "text": "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." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_0385.html" }, "start_date": { "year": "1935" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "La canzone del grappa", "link": "/items/demo_0386.html" }, "start_date": { "year": "1935" }, "text": { "headline": "La canzone del grappa", "text": "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)." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_0387.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Tempo che fu", "link": "/items/demo_0388.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Tempo che fu", "text": "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." } },{ "media": { "url": "", "caption": "Natale fascista", "link": "/items/demo_0389.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Natale fascista" } },{ "media": { "url": "", "caption": "Amore di pastorello", "link": "/items/demo_0390.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Amore di pastorello" } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_0391.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Non piangere biondina", "link": "/items/demo_0392.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Non piangere biondina" } },{ "media": { "url": "", "caption": "Battaglioni", "link": "/items/demo_0393.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Battaglioni" } },{ "media": { "url": "", "caption": "Partenza per l'Africa", "link": "/items/demo_0394.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Partenza per l'Africa", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_0395.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Signorinella", "link": "/items/demo_0396.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Signorinella" } },{ "media": { "url": "", "caption": "Natale fascista", "link": "/items/demo_0397.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Natale fascista" } },{ "media": { "url": "", "caption": "El cartero (Il portalettere)", "link": "/items/demo_0398.html" }, "start_date": { "year": "1935" }, "text": { "headline": "El cartero (Il portalettere)" } },{ "media": { "url": "", "caption": "Stornelli neri", "link": "/items/demo_0399.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Stornelli neri", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Stornellata abissina", "link": "/items/demo_0400.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Stornellata abissina", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Sturnellata 'e passione", "link": "/items/demo_0401.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Sturnellata 'e passione" } },{ "media": { "url": "", "caption": "Serenata a Sellassiè", "link": "/items/demo_0402.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Serenata a Sellassiè", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Ti saluto !… (…vado in Abissinia)", "link": "/items/demo_0403.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Ti saluto !… (…vado in Abissinia)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Non più moretta", "link": "/items/demo_0404.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Non più moretta" } },{ "media": { "url": "", "caption": "Voce dall’Africa", "link": "/items/demo_0405.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Voce dall’Africa", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "O rondinella camicina nera", "link": "/items/demo_0406.html" }, "start_date": { "year": "1935" }, "text": { "headline": "O rondinella camicina nera", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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)." } },{ "media": { "url": "", "caption": "Canti d'Africa (Marcia su motivi di canzoni di attualità: Adua; Ti saluto, vado in Abissinia; La cara Teresina; Macallé; Faccetta nera)", "link": "/items/demo_0407.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canti d'Africa (Marcia su motivi di canzoni di attualità: Adua; Ti saluto, vado in Abissinia; La cara Teresina; Macallé; Faccetta nera)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Fanciulle d'Italia", "link": "/items/demo_0408.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Fanciulle d'Italia" } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_0409.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_0410.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_0411.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0412.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Balilla", "link": "/items/demo_0413.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Balilla", "text": "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)." } },{ "media": { "url": "", "caption": "Bimbe d'Italia", "link": "/items/demo_0414.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Bimbe d'Italia", "text": "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)." } },{ "media": { "url": "", "caption": "Inno ufficiale degli studenti universitari fascisti", "link": "/items/demo_0415.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno ufficiale degli studenti universitari fascisti", "text": "This recording represents fascist university and student organizations." } },{ "media": { "url": "", "caption": "Inno ufficiale dei Giovani fascisti", "link": "/items/demo_0416.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno ufficiale dei Giovani fascisti", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "La marcia delle legioni (inno imperiale)", "link": "/items/demo_0417.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La marcia delle legioni (inno imperiale)", "text": "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." } },{ "media": { "url": "", "caption": "Preghiera del milite", "link": "/items/demo_0418.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Preghiera del milite" } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0419.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Inno al Duce", "link": "/items/demo_0420.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno al Duce", "text": "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)." } },{ "media": { "url": "", "caption": "Amba Alagi", "link": "/items/demo_0421.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Amba Alagi", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Letterine d'Africa", "link": "/items/demo_0422.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Letterine d'Africa", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_0423.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Chissà il negus che cosa dirà", "link": "/items/demo_0424.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Chissà il negus che cosa dirà", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Casetta Abissina", "link": "/items/demo_0425.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Casetta Abissina", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Italia Imperiale", "link": "/items/demo_0426.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Italia Imperiale" } },{ "media": { "url": "", "caption": "Combatti e spera", "link": "/items/demo_0427.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Combatti e spera", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Marcetta colorata", "link": "/items/demo_0428.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Marcetta colorata", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "E l'italiano canta", "link": "/items/demo_0429.html" }, "start_date": { "year": "1936" }, "text": { "headline": "E l'italiano canta", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Ci rivedremo… (A Addis Abeba..!)", "link": "/items/demo_0430.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ci rivedremo… (A Addis Abeba..!)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Figlio mio", "link": "/items/demo_0431.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Figlio mio", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Voce dall’Africa", "link": "/items/demo_0432.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Voce dall’Africa", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Figlio mio", "link": "/items/demo_0433.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Figlio mio", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Ala Azzura", "link": "/items/demo_0434.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Ala Azzura" } },{ "media": { "url": "", "caption": "Fiore Imperiale", "link": "/items/demo_0435.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Fiore Imperiale", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Ritorna il legionario", "link": "/items/demo_0436.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ritorna il legionario", "text": "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." } },{ "media": { "url": "", "caption": "l'Ha detto Mussolini", "link": "/items/demo_0437.html" }, "start_date": { "year": "1936" }, "text": { "headline": "l'Ha detto Mussolini", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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)." } },{ "media": { "url": "", "caption": "Italia a noi !", "link": "/items/demo_0438.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Italia a noi !" } },{ "media": { "url": "", "caption": "Inno d'Africa", "link": "/items/demo_0439.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno d'Africa", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "L'Italia che faceva comodo", "link": "/items/demo_0440.html" }, "start_date": { "year": "1936" }, "text": { "headline": "L'Italia che faceva comodo" } },{ "media": { "url": "", "caption": "Inno d'Africa", "link": "/items/demo_0441.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno d'Africa", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Noi tireremo diritto", "link": "/items/demo_0442.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Noi tireremo diritto", "text": "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. " } },{ "media": { "url": "", "caption": "L'Italia che faceva comodo", "link": "/items/demo_0443.html" }, "start_date": { "year": "1936" }, "text": { "headline": "L'Italia che faceva comodo" } },{ "media": { "url": "", "caption": "Me ne frego", "link": "/items/demo_0444.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Me ne frego", "text": "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. " } },{ "media": { "url": "", "caption": "Legionaria", "link": "/items/demo_0445.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Legionaria", "text": "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." } },{ "media": { "url": "", "caption": "Signora notte", "link": "/items/demo_0446.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Signora notte" } },{ "media": { "url": "", "caption": "Legionari d'Africa", "link": "/items/demo_0447.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Legionari d'Africa", "text": "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." } },{ "media": { "url": "", "caption": "Voce d'Italia", "link": "/items/demo_0448.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Voce d'Italia" } },{ "media": { "url": "", "caption": "La Macallera", "link": "/items/demo_0449.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La Macallera", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Volontari", "link": "/items/demo_0450.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Volontari", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Noi tireremo diritto", "link": "/items/demo_0451.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Noi tireremo diritto", "text": "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. " } },{ "media": { "url": "", "caption": "Canzone azzura", "link": "/items/demo_0452.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canzone azzura", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Patria", "link": "/items/demo_0453.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Patria", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Inno dell'Africa Orientale", "link": "/items/demo_0454.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno dell'Africa Orientale", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Rapsodia africana - Parte I (Faccetta nera - Voce dall’Africa - Luce di Roma - Ala azzura)", "link": "/items/demo_0455.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Rapsodia africana - Parte I (Faccetta nera - Voce dall’Africa - Luce di Roma - Ala azzura)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Rapsodia africana - Parte II (Figlio moi - Ti saluto vado in Abissinia - Cara mamma - Noi tireremo diritto", "link": "/items/demo_0456.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Rapsodia africana - Parte II (Figlio moi - Ti saluto vado in Abissinia - Cara mamma - Noi tireremo diritto", "text": "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. " } },{ "media": { "url": "", "caption": "Luce di Roma", "link": "/items/demo_0457.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Luce di Roma", "text": "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." } },{ "media": { "url": "", "caption": "La continentale", "link": "/items/demo_0458.html" }, "start_date": { "year": "1935" }, "text": { "headline": "La continentale", "text": "This song is from the movie \"Allegro divorzio\"." } },{ "media": { "url": "", "caption": "Luce di Roma", "link": "/items/demo_0459.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Luce di Roma", "text": "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." } },{ "media": { "url": "", "caption": "Il mondo gira e se va (stornelli d’attualità)", "link": "/items/demo_0460.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Il mondo gira e se va (stornelli d’attualità)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Rapsodia nera - Parte I (\"Saluto al Duce\" \"Chissà il negus cosa dirà\" \"Ē il nostro fante\" \"Adua\")", "link": "/items/demo_0461.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Rapsodia nera - Parte I (\"Saluto al Duce\" \"Chissà il negus cosa dirà\" \"Ē il nostro fante\" \"Adua\")", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Rapsodia nera - Parte II (\"Ci rivedremo ad Addis Abeba\" \"Amba Alagi\" \"Legionaria\" \"Adigrat\")", "link": "/items/demo_0462.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Rapsodia nera - Parte II (\"Ci rivedremo ad Addis Abeba\" \"Amba Alagi\" \"Legionaria\" \"Adigrat\")", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Cara mamma", "link": "/items/demo_0463.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Cara mamma", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Verso l'Impero Italico", "link": "/items/demo_0464.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Verso l'Impero Italico", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Storielle del Negus", "link": "/items/demo_0465.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Storielle del Negus", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Va via d’Italia (o mercante straniere)", "link": "/items/demo_0466.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Va via d’Italia (o mercante straniere)", "text": "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. " } },{ "media": { "url": "", "caption": "Ti mandero' una cartolina", "link": "/items/demo_0467.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ti mandero' una cartolina", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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)." } },{ "media": { "url": "", "caption": "Rataplan delle Camicie Nere", "link": "/items/demo_0468.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Rataplan delle Camicie Nere", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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)." } },{ "media": { "url": "", "caption": "Ti portero' con me in Abissinia", "link": "/items/demo_0469.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ti portero' con me in Abissinia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Sotto il cielo di Bligny", "link": "/items/demo_0470.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sotto il cielo di Bligny", "text": "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. " } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_0471.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Non ti scordar di me", "link": "/items/demo_0472.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Non ti scordar di me" } },{ "media": { "url": "", "caption": "Ci rivedremo… (A Addis Abeba..!)", "link": "/items/demo_0473.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ci rivedremo… (A Addis Abeba..!)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Belzebù", "link": "/items/demo_0474.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Belzebù" } },{ "media": { "url": "", "caption": "Luce di Roma", "link": "/items/demo_0475.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Luce di Roma", "text": "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." } },{ "media": { "url": "", "caption": "Gli animali danzanti", "link": "/items/demo_0476.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Gli animali danzanti" } },{ "media": { "url": "", "caption": "Fiore Imperiale", "link": "/items/demo_0477.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Fiore Imperiale" } },{ "media": { "url": "", "caption": "Ritorna il legionario", "link": "/items/demo_0478.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ritorna il legionario", "text": "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." } },{ "media": { "url": "", "caption": "Guadalajara", "link": "/items/demo_0479.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Guadalajara", "text": "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." } },{ "media": { "url": "", "caption": "Tornerà", "link": "/items/demo_0480.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Tornerà" } },{ "media": { "url": "", "caption": "Guadalajara", "link": "/items/demo_0481.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Guadalajara", "text": "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." } },{ "media": { "url": "", "caption": "La canzone di Maria Uva", "link": "/items/demo_0482.html" }, "start_date": { "year": "1937" }, "text": { "headline": "La canzone di Maria Uva", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Marcia dell'imperatore (dal film : \"L'Imperatore della California\")", "link": "/items/demo_0483.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Marcia dell'imperatore (dal film : \"L'Imperatore della California\")" } },{ "media": { "url": "", "caption": "Legionari di Spagna", "link": "/items/demo_0484.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Legionari di Spagna", "text": "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." } },{ "media": { "url": "", "caption": "Me ne frego", "link": "/items/demo_0485.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Me ne frego", "text": "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. " } },{ "media": { "url": "", "caption": "Noi tireremo diritto", "link": "/items/demo_0486.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Noi tireremo diritto", "text": "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. " } },{ "media": { "url": "", "caption": "Ritorna il legionario", "link": "/items/demo_0487.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ritorna il legionario", "text": "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." } },{ "media": { "url": "", "caption": "Sul lago Tana", "link": "/items/demo_0488.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Sul lago Tana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Fucilieri di marina", "link": "/items/demo_0493.html" }, "start_date": { "year": "1938 ?" }, "text": { "headline": "Fucilieri di marina" } },{ "media": { "url": "", "caption": "Amor perdona (dalla commedia : \"Re Aroldo\")", "link": "/items/demo_0494.html" }, "start_date": { "year": "1938 ?" }, "text": { "headline": "Amor perdona (dalla commedia : \"Re Aroldo\")" } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0495.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Impero", "link": "/items/demo_0496.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Impero" } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0497.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Etiopia", "link": "/items/demo_0498.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Etiopia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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 \"." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0499.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_0500.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Cantate di legionari", "link": "/items/demo_0501.html" }, "start_date": { "year": "1937 ?" }, "text": { "headline": "Cantate di legionari", "text": "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." } },{ "media": { "url": "", "caption": "L’aquila legionaria", "link": "/items/demo_0502.html" }, "start_date": { "year": "1937 ?" }, "text": { "headline": "L’aquila legionaria", "text": "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." } },{ "media": { "url": "", "caption": "La legione della lupa", "link": "/items/demo_0503.html" }, "start_date": { "year": "1937 ?" }, "text": { "headline": "La legione della lupa", "text": "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)." } },{ "media": { "url": "", "caption": "Balilla", "link": "/items/demo_0504.html" }, "start_date": { "year": "1937 ?" }, "text": { "headline": "Balilla", "text": "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)." } },{ "media": { "url": "", "caption": "Natale in Africa orientale - Parte I - Bozzetto", "link": "/items/demo_0505.html" }, "start_date": { "year": "1937 ?" }, "text": { "headline": "Natale in Africa orientale - Parte I - Bozzetto" } },{ "media": { "url": "", "caption": "Natale in Africa orientale - Parte II - Bozzetto", "link": "/items/demo_0506.html" }, "start_date": { "year": "1937 ?" }, "text": { "headline": "Natale in Africa orientale - Parte II - Bozzetto" } },{ "media": { "url": "", "caption": "Natale fascista", "link": "/items/demo_0507.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Natale fascista" } },{ "media": { "url": "", "caption": "Babbo Natale", "link": "/items/demo_0508.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Babbo Natale" } },{ "media": { "url": "", "caption": "Marcia reale", "link": "/items/demo_0509.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Marcia reale", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0510.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Marcia delle Legioni", "link": "/items/demo_0511.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Marcia delle Legioni", "text": "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." } },{ "media": { "url": "", "caption": "Inno degli Universitari Fascisti", "link": "/items/demo_0512.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno degli Universitari Fascisti", "text": "This recording represents fascist university and student organizations." } },{ "media": { "url": "", "caption": "O ramoscello di bambù flessible e fiorito - Parte I", "link": "/items/demo_0513.html" }, "start_date": { "year": "1939" }, "text": { "headline": "O ramoscello di bambù flessible e fiorito - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "O ramoscello di bambù flessible e fiorito - Parte II", "link": "/items/demo_0514.html" }, "start_date": { "year": "1939" }, "text": { "headline": "O ramoscello di bambù flessible e fiorito - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "O medico delle anime, curami col tuo balsamo - Parte I", "link": "/items/demo_0515.html" }, "start_date": { "year": "1939" }, "text": { "headline": "O medico delle anime, curami col tuo balsamo - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "O medico delle anime, curami col tuo balsamo - Parte II", "link": "/items/demo_0516.html" }, "start_date": { "year": "1939" }, "text": { "headline": "O medico delle anime, curami col tuo balsamo - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Innalziamo l'inno - Parte I - Canto islamico in lode del Profeta", "link": "/items/demo_0517.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Innalziamo l'inno - Parte I - Canto islamico in lode del Profeta", "text": "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." } },{ "media": { "url": "", "caption": "Innalziamo l'inno - Parte II - Canto islamico in lode del Profeta", "link": "/items/demo_0518.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Innalziamo l'inno - Parte II - Canto islamico in lode del Profeta", "text": "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." } },{ "media": { "url": "", "caption": "Ti-Ti ", "link": "/items/demo_0519.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Ti-Ti ", "text": "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." } },{ "media": { "url": "", "caption": "Cuore innamorato riposa (canzone egiziana)", "link": "/items/demo_0520.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Cuore innamorato riposa (canzone egiziana)", "text": "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." } },{ "media": { "url": "", "caption": "O profeta - Parte I (Canto islamico invocativo)", "link": "/items/demo_0521.html" }, "start_date": { "year": "1939" }, "text": { "headline": "O profeta - Parte I (Canto islamico invocativo)", "text": "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." } },{ "media": { "url": "", "caption": "O profeta - Parte II (Canto islamico invocativo)", "link": "/items/demo_0522.html" }, "start_date": { "year": "1939" }, "text": { "headline": "O profeta - Parte II (Canto islamico invocativo)", "text": "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." } },{ "media": { "url": "", "caption": "Abito e involto del lattante - Parte I", "link": "/items/demo_0523.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Abito e involto del lattante - Parte I", "text": "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. " } },{ "media": { "url": "", "caption": "Abito e involto del lattante - Parte II", "link": "/items/demo_0524.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Abito e involto del lattante - Parte II", "text": "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. " } },{ "media": { "url": "", "caption": "Sei personaggi… in cerci di attori - Parte I", "link": "/items/demo_0525.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Sei personaggi… in cerci di attori - Parte I", "text": "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. " } },{ "media": { "url": "", "caption": "Sei personaggi… in cerci di attori - Parte II", "link": "/items/demo_0526.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Sei personaggi… in cerci di attori - Parte II", "text": "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. " } },{ "media": { "url": "", "caption": "Sei personaggi… in cerci di attori - Parte III", "link": "/items/demo_0527.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Sei personaggi… in cerci di attori - Parte III", "text": "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. " } },{ "media": { "url": "", "caption": "Sei personaggi… in cerci di attori - Parte IV", "link": "/items/demo_0528.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Sei personaggi… in cerci di attori - Parte IV", "text": "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. " } },{ "media": { "url": "", "caption": "L'educazione fisica - Parte I", "link": "/items/demo_0529.html" }, "start_date": { "year": "1939" }, "text": { "headline": "L'educazione fisica - Parte I", "text": "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. " } },{ "media": { "url": "", "caption": "L'educazione fisica - Parte II", "link": "/items/demo_0530.html" }, "start_date": { "year": "1939" }, "text": { "headline": "L'educazione fisica - Parte II", "text": "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. " } },{ "media": { "url": "", "caption": "Amare le piante e i fiori - Parte I", "link": "/items/demo_0531.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Amare le piante e i fiori - Parte I", "text": "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. " } },{ "media": { "url": "", "caption": "Amare le piante e i fiori - Parte II", "link": "/items/demo_0532.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Amare le piante e i fiori - Parte II", "text": "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. " } },{ "media": { "url": "", "caption": "Viva il sole e l'aria pura - Parte I", "link": "/items/demo_0533.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Viva il sole e l'aria pura - Parte I", "text": "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. " } },{ "media": { "url": "", "caption": "Viva il sole e l'aria pura - Parte II", "link": "/items/demo_0534.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Viva il sole e l'aria pura - Parte II", "text": "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. " } },{ "media": { "url": "", "caption": "Viva l'acque pura e fresca - Parte I", "link": "/items/demo_0535.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Viva l'acque pura e fresca - Parte I", "text": "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. " } },{ "media": { "url": "", "caption": "Viva l'acque pura e fresca - Parte II", "link": "/items/demo_0536.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Viva l'acque pura e fresca - Parte II", "text": "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. " } },{ "media": { "url": "", "caption": "Casa linda vita lunga - Parte I", "link": "/items/demo_0537.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Casa linda vita lunga - Parte I", "text": "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. " } },{ "media": { "url": "", "caption": "Casa linda vita lunga - Parte II", "link": "/items/demo_0538.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Casa linda vita lunga - Parte II", "text": "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. " } },{ "media": { "url": "", "caption": "Mediterraneo", "link": "/items/demo_0539.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Mediterraneo" } },{ "media": { "url": "", "caption": "Marcia delle Legioni", "link": "/items/demo_0540.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Marcia delle Legioni", "text": "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." } },{ "media": { "url": "", "caption": "Fanteria gloriosa", "link": "/items/demo_0541.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Fanteria gloriosa", "text": "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)." } },{ "media": { "url": "", "caption": "Legione vittoriosa", "link": "/items/demo_0542.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Legione vittoriosa", "text": "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." } },{ "media": { "url": "", "caption": "Inno della Legione Universit. \"Principe di Piemonte\"", "link": "/items/demo_0543.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Inno della Legione Universit. \"Principe di Piemonte\"", "text": "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." } },{ "media": { "url": "", "caption": "Stornelli al campo", "link": "/items/demo_0544.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Stornelli al campo", "text": "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)." } },{ "media": { "url": "", "caption": "Passano i battaglioni", "link": "/items/demo_0545.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Passano i battaglioni", "text": "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)." } },{ "media": { "url": "", "caption": "Vincere", "link": "/items/demo_0546.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Vincere", "text": "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)." } },{ "media": { "url": "", "caption": "Stornelli di Radio Sociale - Parte I", "link": "/items/demo_0547.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Stornelli di Radio Sociale - Parte I", "text": "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)." } },{ "media": { "url": "", "caption": "Stornelli di Radio Sociale - Parte II", "link": "/items/demo_0548.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Stornelli di Radio Sociale - Parte II", "text": "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)." } },{ "media": { "url": "", "caption": "Squadristi, a noi !", "link": "/items/demo_0549.html" }, "start_date": { "year": "1940 ?" }, "text": { "headline": "Squadristi, a noi !" } },{ "media": { "url": "", "caption": "Canta monella", "link": "/items/demo_0550.html" }, "start_date": { "year": "1940 ?" }, "text": { "headline": "Canta monella" } },{ "media": { "url": "", "caption": "Tobbela (ai bevitori di thè) - Parte I", "link": "/items/demo_0551.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Tobbela (ai bevitori di thè) - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Tobbela (ai bevitori di thè) - Parte II", "link": "/items/demo_0552.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Tobbela (ai bevitori di thè) - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Zocra beduina (Oggi mi è apparsa)", "link": "/items/demo_0553.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Zocra beduina (Oggi mi è apparsa)", "text": "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." } },{ "media": { "url": "", "caption": "Zocra beduina (Occhi mei)", "link": "/items/demo_0554.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Zocra beduina (Occhi mei)", "text": "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." } },{ "media": { "url": "", "caption": "I tre fannulloni (Racconto umoristico) - Parte I", "link": "/items/demo_0555.html" }, "start_date": { "year": "1940" }, "text": { "headline": "I tre fannulloni (Racconto umoristico) - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "I tre fannulloni (Racconto umoristico) - Parte II", "link": "/items/demo_0556.html" }, "start_date": { "year": "1940" }, "text": { "headline": "I tre fannulloni (Racconto umoristico) - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Baz isauita", "link": "/items/demo_0557.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Baz isauita", "text": "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." } },{ "media": { "url": "", "caption": "Canti Cassada", "link": "/items/demo_0558.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Canti Cassada", "text": "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." } },{ "media": { "url": "", "caption": "Rumba sudanese - Parte I ", "link": "/items/demo_0559.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Rumba sudanese - Parte I ", "text": "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." } },{ "media": { "url": "", "caption": "Rumba sudanese - Parte II", "link": "/items/demo_0560.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Rumba sudanese - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Canzoni del Fezzan - Parte I", "link": "/items/demo_0561.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Canzoni del Fezzan - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Canzoni del Fezzan - Parte II", "link": "/items/demo_0562.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Canzoni del Fezzan - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Tobbela (Canto Beduino)", "link": "/items/demo_0563.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Tobbela (Canto Beduino)", "text": "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." } },{ "media": { "url": "", "caption": "Mageruda (Canto Beduino)", "link": "/items/demo_0564.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Mageruda (Canto Beduino)", "text": "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." } },{ "media": { "url": "", "caption": "Mageruda (Sono il poeta del buon consiglio) - Parte I", "link": "/items/demo_0565.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Mageruda (Sono il poeta del buon consiglio) - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Mageruda (Sono il poeta del buon consiglio) - Parte II", "link": "/items/demo_0566.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Mageruda (Sono il poeta del buon consiglio) - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Richiamo del Muezzin alla preghiera e canti laudativi del Profeta - Parte I", "link": "/items/demo_0567.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Richiamo del Muezzin alla preghiera e canti laudativi del Profeta - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Richiamo del Muezzin alla preghiera e canti laudativi del Profeta - Parte II", "link": "/items/demo_0568.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Richiamo del Muezzin alla preghiera e canti laudativi del Profeta - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Canti Maluf - Parte I", "link": "/items/demo_0569.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Canti Maluf - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Canti Maluf - Parte II", "link": "/items/demo_0570.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Canti Maluf - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Canti Sulamia", "link": "/items/demo_0571.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Canti Sulamia", "text": "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." } },{ "media": { "url": "", "caption": "Canzone e ritmi libici", "link": "/items/demo_0572.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Canzone e ritmi libici", "text": "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." } },{ "media": { "url": "", "caption": "Zocra beduina", "link": "/items/demo_0573.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Zocra beduina", "text": "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." } },{ "media": { "url": "", "caption": "Magrunz", "link": "/items/demo_0574.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Magrunz", "text": "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." } },{ "media": { "url": "", "caption": "Laiali Tauscich e Dor - Parte I", "link": "/items/demo_0575.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Laiali Tauscich e Dor - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Laiali Tauscich e Dor - Parte II", "link": "/items/demo_0576.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Laiali Tauscich e Dor - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Canzone antica tripolina - Parte I", "link": "/items/demo_0577.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Canzone antica tripolina - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Canzone antica tripolina - Parte II", "link": "/items/demo_0578.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Canzone antica tripolina - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Marcia caratteristica della \"Nuba\" - Parte I", "link": "/items/demo_0579.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Marcia caratteristica della \"Nuba\" - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Marcia caratteristica della \"Nuba\" - Parte II", "link": "/items/demo_0580.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Marcia caratteristica della \"Nuba\" - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Fantasia di Ascari del Deposito truppe coloniali di Addis Abeba - Parte I", "link": "/items/demo_0581.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Fantasia di Ascari del Deposito truppe coloniali di Addis Abeba - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Fantasia di Ascari del Deposito truppe coloniali di Addis Abeba - Parte II", "link": "/items/demo_0582.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Fantasia di Ascari del Deposito truppe coloniali di Addis Abeba - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Canto di uollo (Duetto d’amore)", "link": "/items/demo_0583.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Canto di uollo (Duetto d’amore)", "text": "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." } },{ "media": { "url": "", "caption": "Canto di Bati (Canzone d’amore)", "link": "/items/demo_0584.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Canto di Bati (Canzone d’amore)", "text": "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." } },{ "media": { "url": "", "caption": "Chibretalem (Rimbrotto di innamorato)", "link": "/items/demo_0585.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Chibretalem (Rimbrotto di innamorato)", "text": "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." } },{ "media": { "url": "", "caption": "Scegaubire (Bel giovanotto)", "link": "/items/demo_0586.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Scegaubire (Bel giovanotto)", "text": "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." } },{ "media": { "url": "", "caption": "Lode alla Madonna", "link": "/items/demo_0587.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Lode alla Madonna", "text": "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." } },{ "media": { "url": "", "caption": "Lode a Dio", "link": "/items/demo_0588.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Lode a Dio", "text": "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." } },{ "media": { "url": "", "caption": "Lode all'Abuna Johannes", "link": "/items/demo_0589.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Lode all'Abuna Johannes", "text": "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." } },{ "media": { "url": "", "caption": "Lode a S. M. Vittorio Emanuele III, Re Imperatore", "link": "/items/demo_0590.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Lode a S. M. Vittorio Emanuele III, Re Imperatore", "text": "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." } },{ "media": { "url": "", "caption": "Preghiera a San Gabriele", "link": "/items/demo_0591.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Preghiera a San Gabriele", "text": "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." } },{ "media": { "url": "", "caption": "Preghiera a San Michele", "link": "/items/demo_0592.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Preghiera a San Michele", "text": "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." } },{ "media": { "url": "", "caption": "Incitamento alla gioventù", "link": "/items/demo_0593.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Incitamento alla gioventù", "text": "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." } },{ "media": { "url": "", "caption": "Canzone di amore uollo", "link": "/items/demo_0594.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Canzone di amore uollo", "text": "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." } },{ "media": { "url": "", "caption": "Lode all'Italia (Canto Jemenita)", "link": "/items/demo_0595.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Lode all'Italia (Canto Jemenita)", "text": "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." } },{ "media": { "url": "", "caption": "Il ben consigliare (Canto sacro Jemenita)", "link": "/items/demo_0596.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Il ben consigliare (Canto sacro Jemenita)", "text": "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." } },{ "media": { "url": "", "caption": "Il bravo guerriero", "link": "/items/demo_0597.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Il bravo guerriero", "text": "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." } },{ "media": { "url": "", "caption": "Oh, Gesù Cristo", "link": "/items/demo_0598.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Oh, Gesù Cristo", "text": "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." } },{ "media": { "url": "", "caption": "Fantasia di Ascari Eritrei copti del Deposito truppe coloniali di Addis Abeba - Parte I", "link": "/items/demo_0599.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Fantasia di Ascari Eritrei copti del Deposito truppe coloniali di Addis Abeba - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Fantasia di Ascari Eritrei copti del Deposito truppe coloniali di Addis Abeba - Parte II", "link": "/items/demo_0600.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Fantasia di Ascari Eritrei copti del Deposito truppe coloniali di Addis Abeba - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Fantasia di Ascari Eritrei copti del Deposito truppe coloniali di Addis Abeba", "link": "/items/demo_0601.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Fantasia di Ascari Eritrei copti del Deposito truppe coloniali di Addis Abeba", "text": "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." } },{ "media": { "url": "", "caption": "Ammaina bandiera al Deposito truppe coloniali di Addis Abeba", "link": "/items/demo_0602.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Ammaina bandiera al Deposito truppe coloniali di Addis Abeba", "text": "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." } },{ "media": { "url": "", "caption": "Lode all'Italia (Canto di bimbi amhara)", "link": "/items/demo_0603.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Lode all'Italia (Canto di bimbi amhara)", "text": "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." } },{ "media": { "url": "", "caption": "Duetto d'amore amhara", "link": "/items/demo_0604.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Duetto d'amore amhara", "text": "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." } },{ "media": { "url": "", "caption": "Canto d'amore amhara", "link": "/items/demo_0605.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Canto d'amore amhara", "text": "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." } },{ "media": { "url": "", "caption": "Canzone d'amore amhara", "link": "/items/demo_0606.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Canzone d'amore amhara", "text": "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." } },{ "media": { "url": "", "caption": "Canzone ai morti", "link": "/items/demo_0607.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Canzone ai morti", "text": "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." } },{ "media": { "url": "", "caption": "Duetto d'amore amhara", "link": "/items/demo_0608.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Duetto d'amore amhara", "text": "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." } },{ "media": { "url": "", "caption": "Fantasia di Ascari Eritrei mussulmani del Deposito truppe coloniali di Addis Abeba - Parte I", "link": "/items/demo_0609.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Fantasia di Ascari Eritrei mussulmani del Deposito truppe coloniali di Addis Abeba - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Fantasia di Ascari Eritrei mussulmani del Deposito truppe coloniali di Addis Abeba - Parte II", "link": "/items/demo_0610.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Fantasia di Ascari Eritrei mussulmani del Deposito truppe coloniali di Addis Abeba - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte I", "link": "/items/demo_0611.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte II", "link": "/items/demo_0612.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte I", "link": "/items/demo_0613.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte II", "link": "/items/demo_0614.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte I", "link": "/items/demo_0615.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte II", "link": "/items/demo_0616.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Fantasia guerriera di Ascari amahra del Deposito truppe coloniali di Addis Abeba - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Sul cappello", "link": "/items/demo_0617.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Sul cappello", "text": "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)." } },{ "media": { "url": "", "caption": "La marcia delle legioni", "link": "/items/demo_0618.html" }, "start_date": { "year": "1940" }, "text": { "headline": "La marcia delle legioni", "text": "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." } },{ "media": { "url": "", "caption": "Adesso viene il bello", "link": "/items/demo_0619.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Adesso viene il bello", "text": "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." } },{ "media": { "url": "", "caption": "Vincere… Vincere… Vincere…", "link": "/items/demo_0620.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Vincere… Vincere… Vincere…", "text": "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." } },{ "media": { "url": "", "caption": "Addio mia piccola", "link": "/items/demo_0621.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Addio mia piccola", "text": "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" } },{ "media": { "url": "", "caption": "Vincere… Vincere… Vincere…", "link": "/items/demo_0622.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Vincere… Vincere… Vincere…", "text": "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)." } },{ "media": { "url": "", "caption": "All'armi ! Roma chiamò", "link": "/items/demo_0623.html" }, "start_date": { "year": "1940" }, "text": { "headline": "All'armi ! Roma chiamò", "text": "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." } },{ "media": { "url": "", "caption": "Mosè", "link": "/items/demo_0624.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Mosè", "text": "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." } },{ "media": { "url": "", "caption": "Allegre legioni", "link": "/items/demo_0625.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Allegre legioni", "text": "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." } },{ "media": { "url": "", "caption": "Gondar", "link": "/items/demo_0626.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Gondar", "text": "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." } },{ "media": { "url": "", "caption": "L'aquilla legionaria", "link": "/items/demo_0627.html" }, "start_date": { "year": "1938" }, "text": { "headline": "L'aquilla legionaria", "text": "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." } },{ "media": { "url": "", "caption": "Cantate di legionari", "link": "/items/demo_0628.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Cantate di legionari", "text": "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." } },{ "media": { "url": "", "caption": "Armi e brio", "link": "/items/demo_0629.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Armi e brio", "text": "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." } },{ "media": { "url": "", "caption": "Verso le mète imperiali", "link": "/items/demo_0630.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Verso le mète imperiali", "text": "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." } },{ "media": { "url": "", "caption": "Aviazione legionaria", "link": "/items/demo_0631.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Aviazione legionaria", "text": "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." } },{ "media": { "url": "", "caption": "Sfilano gli avieri", "link": "/items/demo_0632.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Sfilano gli avieri", "text": "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." } },{ "media": { "url": "", "caption": "L'azzura bandiera", "link": "/items/demo_0633.html" }, "start_date": { "year": "1941" }, "text": { "headline": "L'azzura bandiera", "text": "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." } },{ "media": { "url": "", "caption": "Nuova goliarda", "link": "/items/demo_0634.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Nuova goliarda", "text": "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." } },{ "media": { "url": "", "caption": "Bambina bella", "link": "/items/demo_0635.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Bambina bella", "text": "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)." } },{ "media": { "url": "", "caption": "Mamma ritornerò", "link": "/items/demo_0636.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Mamma ritornerò", "text": "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)." } },{ "media": { "url": "", "caption": "Battaglioni M", "link": "/items/demo_0637.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Battaglioni M", "text": "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)." } },{ "media": { "url": "", "caption": "Ciao ciao, mio bell'alpin", "link": "/items/demo_0638.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Ciao ciao, mio bell'alpin", "text": "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)." } },{ "media": { "url": "", "caption": "Camerata", "link": "/items/demo_0639.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Camerata", "text": "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." } },{ "media": { "url": "", "caption": "Italia, a noi !", "link": "/items/demo_0640.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Italia, a noi !", "text": "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." } },{ "media": { "url": "", "caption": "Camerata Richard", "link": "/items/demo_0641.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Camerata Richard", "text": "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)." } },{ "media": { "url": "", "caption": "Sagra di Giarabub", "link": "/items/demo_0642.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Sagra di Giarabub", "text": "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)." } },{ "media": { "url": "", "caption": "Campidoglio", "link": "/items/demo_0643.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Campidoglio", "text": "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." } },{ "media": { "url": "", "caption": "Sempre in alto", "link": "/items/demo_0644.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Sempre in alto", "text": "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." } },{ "media": { "url": "", "caption": "Canta la G.I.L.", "link": "/items/demo_0645.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Canta la G.I.L.", "text": "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." } },{ "media": { "url": "", "caption": "Inno della 93a Legione M.V.S.N. \"Giglio Rosso\"", "link": "/items/demo_0646.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Inno della 93a Legione M.V.S.N. \"Giglio Rosso\"", "text": "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." } },{ "media": { "url": "", "caption": "Cantata squadrista", "link": "/items/demo_0647.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Cantata squadrista", "text": "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." } },{ "media": { "url": "", "caption": "Cantate di legionari", "link": "/items/demo_0648.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Cantate di legionari", "text": "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." } },{ "media": { "url": "", "caption": "Canzone dei sommergibili", "link": "/items/demo_0649.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Canzone dei sommergibili", "text": "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)." } },{ "media": { "url": "", "caption": "Il saluto del marinaio", "link": "/items/demo_0650.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Il saluto del marinaio", "text": "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)." } },{ "media": { "url": "", "caption": "Canzone eroica dell'89° Reggimento Fanteria \"Cosseria\"", "link": "/items/demo_0651.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Canzone eroica dell'89° Reggimento Fanteria \"Cosseria\"", "text": "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." } },{ "media": { "url": "", "caption": "Non chievo dove (Inno dell'89° Riggimento Fanteria)", "link": "/items/demo_0652.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Non chievo dove (Inno dell'89° Riggimento Fanteria)", "text": "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." } },{ "media": { "url": "", "caption": "Caro papà", "link": "/items/demo_0653.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Caro papà", "text": "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)." } },{ "media": { "url": "", "caption": "Lili Marlen", "link": "/items/demo_0654.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Lili Marlen", "text": "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)." } },{ "media": { "url": "", "caption": "Casteldelpiano", "link": "/items/demo_0655.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Casteldelpiano", "text": "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." } },{ "media": { "url": "", "caption": "Canzone eroica dell'89° Reggimento Fanteria \"Cosseria\"", "link": "/items/demo_0656.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Canzone eroica dell'89° Reggimento Fanteria \"Cosseria\"", "text": "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." } },{ "media": { "url": "", "caption": "Ciao biondina", "link": "/items/demo_0657.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Ciao biondina", "text": "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)." } },{ "media": { "url": "", "caption": "Serenata del soldato", "link": "/items/demo_0658.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Serenata del soldato", "text": "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)." } },{ "media": { "url": "", "caption": "Ci vedremo in primavera", "link": "/items/demo_0659.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Ci vedremo in primavera", "text": "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)." } },{ "media": { "url": "", "caption": "Lunga strada", "link": "/items/demo_0660.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Lunga strada", "text": "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)." } },{ "media": { "url": "", "caption": "Condottiero vittorioso", "link": "/items/demo_0661.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Condottiero vittorioso", "text": "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." } },{ "media": { "url": "", "caption": "L'impero è nostro", "link": "/items/demo_0662.html" }, "start_date": { "year": "1940" }, "text": { "headline": "L'impero è nostro", "text": "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." } },{ "media": { "url": "", "caption": "Divina Patria", "link": "/items/demo_0663.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Divina Patria", "text": "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." } },{ "media": { "url": "", "caption": "Gioventù del Littorio", "link": "/items/demo_0664.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Gioventù del Littorio", "text": "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." } },{ "media": { "url": "", "caption": "Doppo il lavoro", "link": "/items/demo_0665.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Doppo il lavoro", "text": "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." } },{ "media": { "url": "", "caption": "Inno sardo", "link": "/items/demo_0666.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno sardo", "text": "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." } },{ "media": { "url": "", "caption": "Ernani", "link": "/items/demo_0667.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Ernani", "text": "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." } },{ "media": { "url": "", "caption": "La straniera", "link": "/items/demo_0668.html" }, "start_date": { "year": "1941" }, "text": { "headline": "La straniera", "text": "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." } },{ "media": { "url": "", "caption": "Eroica", "link": "/items/demo_0669.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Eroica", "text": "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." } },{ "media": { "url": "", "caption": "Marcia degli eroi", "link": "/items/demo_0670.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Marcia degli eroi", "text": "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." } },{ "media": { "url": "", "caption": "Etiopia italiana", "link": "/items/demo_0671.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Etiopia italiana", "text": "The record to which this recording belongs is included in the \"Hymns, marches and wartime songs\" section of the Cetra label's 1942 catalog." } },{ "media": { "url": "", "caption": "Fiamme d'argento", "link": "/items/demo_0672.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Fiamme d'argento", "text": "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." } },{ "media": { "url": "", "caption": "Fantasia militare - Parte I", "link": "/items/demo_0673.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Fantasia militare - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Fantasia militare - Parte II", "link": "/items/demo_0674.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Fantasia militare - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Fante d'Italia", "link": "/items/demo_0675.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Fante d'Italia", "text": "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." } },{ "media": { "url": "", "caption": "Scarpini e scarponi", "link": "/items/demo_0676.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Scarpini e scarponi", "text": "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." } },{ "media": { "url": "", "caption": "Festosa", "link": "/items/demo_0677.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Festosa", "text": "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." } },{ "media": { "url": "", "caption": "Marcia militare", "link": "/items/demo_0678.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Marcia militare", "text": "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." } },{ "media": { "url": "", "caption": "Fiamme Verdi", "link": "/items/demo_0679.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Fiamme Verdi", "text": "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." } },{ "media": { "url": "", "caption": "Marcia del Battaglione S. Marco", "link": "/items/demo_0680.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Marcia del Battaglione S. Marco", "text": "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." } },{ "media": { "url": "", "caption": "Fuoco di bordata", "link": "/items/demo_0681.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Fuoco di bordata", "text": "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." } },{ "media": { "url": "", "caption": "Marcia trionfale", "link": "/items/demo_0682.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Marcia trionfale", "text": "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." } },{ "media": { "url": "", "caption": "G.I.L.", "link": "/items/demo_0683.html" }, "start_date": { "year": "1940" }, "text": { "headline": "G.I.L.", "text": "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." } },{ "media": { "url": "", "caption": "Viva il Duce", "link": "/items/demo_0684.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Viva il Duce", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0685.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Giovinezza", "text": "\"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." } },{ "media": { "url": "", "caption": "Cantate di legionari", "link": "/items/demo_0686.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Cantate di legionari", "text": "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." } },{ "media": { "url": "", "caption": "La Grande Madre", "link": "/items/demo_0687.html" }, "start_date": { "year": "1941" }, "text": { "headline": "La Grande Madre", "text": "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." } },{ "media": { "url": "", "caption": "Italia, Italia (Su motivi di X. Batt. Volontari della G.I.L. dell’Urbe)", "link": "/items/demo_0688.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Italia, Italia (Su motivi di X. Batt. Volontari della G.I.L. dell’Urbe)", "text": "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." } },{ "media": { "url": "", "caption": "Inno degli Universitari Fascisti ", "link": "/items/demo_0689.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Inno degli Universitari Fascisti ", "text": "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." } },{ "media": { "url": "", "caption": "Marcia delle Legioni ", "link": "/items/demo_0690.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Marcia delle Legioni ", "text": "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." } },{ "media": { "url": "", "caption": "Inno dell'Asse", "link": "/items/demo_0691.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Inno dell'Asse", "text": "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." } },{ "media": { "url": "", "caption": "Inno trionfale al Duce", "link": "/items/demo_0692.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Inno trionfale al Duce", "text": "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." } },{ "media": { "url": "", "caption": "Inno del 64° Reggimento Fanteria", "link": "/items/demo_0693.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Inno del 64° Reggimento Fanteria", "text": "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." } },{ "media": { "url": "", "caption": "Vita e ricordi del Fante", "link": "/items/demo_0694.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Vita e ricordi del Fante", "text": "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." } },{ "media": { "url": "", "caption": "Inno Sardo", "link": "/items/demo_0695.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno Sardo", "text": "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." } },{ "media": { "url": "", "caption": "Marcia ordinanza dei Carabinieri Reali", "link": "/items/demo_0696.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Marcia ordinanza dei Carabinieri Reali", "text": "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." } },{ "media": { "url": "", "caption": "Leggenda legionaria", "link": "/items/demo_0697.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Leggenda legionaria", "text": "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." } },{ "media": { "url": "", "caption": "Squadristi, a noi !", "link": "/items/demo_0698.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Squadristi, a noi !", "text": "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." } },{ "media": { "url": "", "caption": "Legioni", "link": "/items/demo_0699.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Legioni", "text": "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." } },{ "media": { "url": "", "caption": "Marcia eroica (Parata grigioverde)", "link": "/items/demo_0700.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Marcia eroica (Parata grigioverde)", "text": "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." } },{ "media": { "url": "", "caption": "Marcia dell'Aviazione", "link": "/items/demo_0701.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Marcia dell'Aviazione", "text": "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." } },{ "media": { "url": "", "caption": "Marcia dell'89 Fanteria", "link": "/items/demo_0702.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Marcia dell'89 Fanteria", "text": "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." } },{ "media": { "url": "", "caption": "Marcia eroica", "link": "/items/demo_0703.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Marcia eroica", "text": "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." } },{ "media": { "url": "", "caption": "Marcia trionfale", "link": "/items/demo_0704.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Marcia trionfale", "text": "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." } },{ "media": { "url": "", "caption": "Marcia ordinanza dei Granatieri", "link": "/items/demo_0705.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Marcia ordinanza dei Granatieri", "text": "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." } },{ "media": { "url": "", "caption": "Marcia ordinanza della Regia Marina", "link": "/items/demo_0706.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Marcia ordinanza della Regia Marina", "text": "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" } },{ "media": { "url": "", "caption": "Marcia ordinanza dei Carabinieri Reali", "link": "/items/demo_0707.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Marcia ordinanza dei Carabinieri Reali", "text": "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." } },{ "media": { "url": "", "caption": "Marcia reale ", "link": "/items/demo_0708.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Marcia reale ", "text": "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." } },{ "media": { "url": "", "caption": "Marcia per l'Aeronautica", "link": "/items/demo_0709.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Marcia per l'Aeronautica", "text": "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." } },{ "media": { "url": "", "caption": "Il trovatore", "link": "/items/demo_0710.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Il trovatore", "text": "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." } },{ "media": { "url": "", "caption": "Marcia trionfale", "link": "/items/demo_0711.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Marcia trionfale", "text": "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." } },{ "media": { "url": "", "caption": "Il Conte Ory", "link": "/items/demo_0712.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Il Conte Ory", "text": "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." } },{ "media": { "url": "", "caption": "Ninna nanna grigioverde", "link": "/items/demo_0713.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Ninna nanna grigioverde", "text": "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 \"." } },{ "media": { "url": "", "caption": "Tu non mi lascerai", "link": "/items/demo_0714.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Tu non mi lascerai", "text": "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)." } },{ "media": { "url": "", "caption": "Inno all’Impero", "link": "/items/demo_0715.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno all’Impero", "text": "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." } },{ "media": { "url": "", "caption": "Squadristi a noi !", "link": "/items/demo_0716.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Squadristi a noi !", "text": "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." } },{ "media": { "url": "", "caption": "Passa la gioventù (Canto fascista)", "link": "/items/demo_0717.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Passa la gioventù (Canto fascista)", "text": "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." } },{ "media": { "url": "", "caption": "Saluto al Duce", "link": "/items/demo_0718.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Saluto al Duce", "text": "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." } },{ "media": { "url": "", "caption": "Passo romano", "link": "/items/demo_0719.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Passo romano", "text": "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." } },{ "media": { "url": "", "caption": "Vinceremo", "link": "/items/demo_0720.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Vinceremo", "text": "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." } },{ "media": { "url": "", "caption": "Rapsodia militare italiana (Prima - Su canti popolari di soldati) - Parte I", "link": "/items/demo_0721.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Rapsodia militare italiana (Prima - Su canti popolari di soldati) - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Rapsodia militare italiana (Prima - Su canti popolari di soldati) - Parte II", "link": "/items/demo_0722.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Rapsodia militare italiana (Prima - Su canti popolari di soldati) - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Rusticanella", "link": "/items/demo_0723.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Rusticanella", "text": "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." } },{ "media": { "url": "", "caption": "Vittorio Veneto", "link": "/items/demo_0724.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Vittorio Veneto", "text": "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." } },{ "media": { "url": "", "caption": "Canto dei volontari", "link": "/items/demo_0725.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Canto dei volontari", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Sfilano i battaglioni", "link": "/items/demo_0726.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Sfilano i battaglioni", "text": "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." } },{ "media": { "url": "", "caption": "Lili Marleen", "link": "/items/demo_0727.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Lili Marleen", "text": "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." } },{ "media": { "url": "", "caption": "Vienna, Vienna", "link": "/items/demo_0728.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Vienna, Vienna", "text": "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)." } },{ "media": { "url": "", "caption": "Lei… voi… tu", "link": "/items/demo_0729.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Lei… voi… tu", "text": "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." } },{ "media": { "url": "", "caption": "Italia, Italia (su motivi di X. Batt. Volontari della G.I.L. dell’Urbe)", "link": "/items/demo_0730.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Italia, Italia (su motivi di X. Batt. Volontari della G.I.L. dell’Urbe)", "text": "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." } },{ "media": { "url": "", "caption": "Discorso del 2 Ottobre 1935-XIII", "link": "/items/demo_0731.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 2 Ottobre 1935-XIII", "text": "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." } },{ "media": { "url": "", "caption": "Discorso del 2 Ottobre 1935-XIII", "link": "/items/demo_0732.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 2 Ottobre 1935-XIII", "text": "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." } },{ "media": { "url": "", "caption": "Discorso del 2 Ottobre 1935-XIII", "link": "/items/demo_0733.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 2 Ottobre 1935-XIII", "text": "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." } },{ "media": { "url": "", "caption": "Discorso del 2 Ottobre 1935-XIII", "link": "/items/demo_0734.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 2 Ottobre 1935-XIII", "text": "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." } },{ "media": { "url": "", "caption": "Discorso del 2 Ottobre 1935-XIII", "link": "/items/demo_0735.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 2 Ottobre 1935-XIII", "text": "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." } },{ "media": { "url": "", "caption": "Discorso del 2 Ottobre 1935-XIII", "link": "/items/demo_0736.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 2 Ottobre 1935-XIII", "text": "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." } },{ "media": { "url": "", "caption": "Discorso del 7 Dicembre 1935-XIV", "link": "/items/demo_0737.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 7 Dicembre 1935-XIV", "text": "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. " } },{ "media": { "url": "", "caption": "Discorso del 7 Dicembre 1935-XIV", "link": "/items/demo_0738.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 7 Dicembre 1935-XIV", "text": "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. " } },{ "media": { "url": "", "caption": "Discorso del 7 Dicembre 1935-XIV", "link": "/items/demo_0739.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 7 Dicembre 1935-XIV", "text": "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. " } },{ "media": { "url": "", "caption": "Discorso del 7 Dicembre 1935-XIV", "link": "/items/demo_0740.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 7 Dicembre 1935-XIV", "text": "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. " } },{ "media": { "url": "", "caption": "Discorso del 7 Dicembre 1935-XIV", "link": "/items/demo_0741.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 7 Dicembre 1935-XIV", "text": "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. " } },{ "media": { "url": "", "caption": "Marcia Reale Italiana", "link": "/items/demo_0742.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Marcia Reale Italiana", "text": "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." } },{ "media": { "url": "", "caption": "Discorso del 5 Maggio 1936-XIV", "link": "/items/demo_0743.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 5 Maggio 1936-XIV", "text": "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." } },{ "media": { "url": "", "caption": "Discorso del 5 Maggio 1936-XIV", "link": "/items/demo_0744.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 5 Maggio 1936-XIV", "text": "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." } },{ "media": { "url": "", "caption": "Discorso del 5 Maggio 1936-XIV", "link": "/items/demo_0745.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 5 Maggio 1936-XIV", "text": "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." } },{ "media": { "url": "", "caption": "Discorso del 5 Maggio 1936-XIV", "link": "/items/demo_0746.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 5 Maggio 1936-XIV", "text": "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." } },{ "media": { "url": "", "caption": "Discorso del 5 Maggio 1936-XIV", "link": "/items/demo_0747.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 5 Maggio 1936-XIV", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0748.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Giovinezza", "text": "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." } },{ "media": { "url": "", "caption": "Discorso del 9 Maggio 1936-XIV", "link": "/items/demo_0749.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 9 Maggio 1936-XIV", "text": "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." } },{ "media": { "url": "", "caption": "Discorso del 9 Maggio 1936-XIV", "link": "/items/demo_0750.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 9 Maggio 1936-XIV", "text": "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." } },{ "media": { "url": "", "caption": "Discorso del 9 Maggio 1936-XIV", "link": "/items/demo_0751.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 9 Maggio 1936-XIV", "text": "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." } },{ "media": { "url": "", "caption": "Discorso del 9 Maggio 1936-XIV", "link": "/items/demo_0752.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 9 Maggio 1936-XIV", "text": "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." } },{ "media": { "url": "", "caption": "Discorso del 9 Maggio 1936-XIV", "link": "/items/demo_0753.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Discorso del 9 Maggio 1936-XIV", "text": "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." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_0754.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Figli dell'Impero (Balilla - Giovinezza, Giovinezza)", "link": "/items/demo_0755.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Figli dell'Impero (Balilla - Giovinezza, Giovinezza)", "text": "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." } },{ "media": { "url": "", "caption": "Figli dell'Impero (Duce, Duce - Canto dei volontari - In marcia - La Bandiera)", "link": "/items/demo_0756.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Figli dell'Impero (Duce, Duce - Canto dei volontari - In marcia - La Bandiera)", "text": "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." } },{ "media": { "url": "", "caption": "Incantesimo (As aman o syr'i zie) canzone popolare di Koritza)", "link": "/items/demo_0757.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Incantesimo (As aman o syr'i zie) canzone popolare di Koritza)", "text": "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." } },{ "media": { "url": "", "caption": "Sono innamorato di te (Dashtnuez t'u lana); E' giunta primavera (Te gizojm se erdh Prendvera) (Due canzoni popolari di Scutari)", "link": "/items/demo_0758.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Sono innamorato di te (Dashtnuez t'u lana); E' giunta primavera (Te gizojm se erdh Prendvera) (Due canzoni popolari di Scutari)", "text": "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." } },{ "media": { "url": "", "caption": "Visione (Marshallah bukuris sate); Erano due cognate (Ishin dy Kunata) (Canzoni popolari di Scutari)", "link": "/items/demo_0759.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Visione (Marshallah bukuris sate); Erano due cognate (Ishin dy Kunata) (Canzoni popolari di Scutari)", "text": "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." } },{ "media": { "url": "", "caption": "Sono infelice lontano da te (Dashnija Kioft mallkuc); Igarofani di Scutari (Karajfilat gi ka Shkvdra) (Canzoni popolari di Scutari)", "link": "/items/demo_0760.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Sono infelice lontano da te (Dashnija Kioft mallkuc); Igarofani di Scutari (Karajfilat gi ka Shkvdra) (Canzoni popolari di Scutari)", "text": "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." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_0761.html" }, "start_date": { "year": "1923 ?" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza ", "link": "/items/demo_0762.html" }, "start_date": { "year": "1923 ?" }, "text": { "headline": "Giovinezza ", "text": "\"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)." } },{ "media": { "url": "", "caption": "Giovinezza ", "link": "/items/demo_0763.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Giovinezza ", "text": "\"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)." } },{ "media": { "url": "", "caption": "Marcia reale italiana", "link": "/items/demo_0764.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Marcia reale italiana", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0765.html" }, "start_date": { "year": "1926 ?" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_0766.html" }, "start_date": { "year": "1926 ?" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Inno degli Universitari Fascisti ", "link": "/items/demo_0767.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Inno degli Universitari Fascisti ", "text": "This recording represents fascist university and student organizations." } },{ "media": { "url": "", "caption": "Ventun aprile (Inno dei lavoratori italiani)", "link": "/items/demo_0768.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Ventun aprile (Inno dei lavoratori italiani)" } },{ "media": { "url": "", "caption": "Bimbe d'Italia", "link": "/items/demo_0769.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Bimbe d'Italia", "text": "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)." } },{ "media": { "url": "", "caption": "Marcia nuziale (In onore delle Auguste nozze di S.A.R. il Principe di Piemonte)", "link": "/items/demo_0770.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Marcia nuziale (In onore delle Auguste nozze di S.A.R. il Principe di Piemonte)" } },{ "media": { "url": "", "caption": "La Leonesa (inno della 15a Legione della M.V.S.N.)", "link": "/items/demo_0771.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "La Leonesa (inno della 15a Legione della M.V.S.N.)" } },{ "media": { "url": "", "caption": "Inno alle truppe di montagna", "link": "/items/demo_0772.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Inno alle truppe di montagna" } },{ "media": { "url": "", "caption": "Il canto del lavoro", "link": "/items/demo_0773.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Il canto del lavoro", "text": "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.\"" } },{ "media": { "url": "", "caption": "Marcia reale Italiana", "link": "/items/demo_0774.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Marcia reale Italiana", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0775.html" }, "start_date": { "year": "1926 ?" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Le aquile di Roma (Inno imperiale)", "link": "/items/demo_0776.html" }, "start_date": { "year": "1926 ?" }, "text": { "headline": "Le aquile di Roma (Inno imperiale)", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0777.html" }, "start_date": { "year": "1926 ?" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Inno della Somalia italiana", "link": "/items/demo_0778.html" }, "start_date": { "year": "1926 ?" }, "text": { "headline": "Inno della Somalia italiana", "text": "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. " } },{ "media": { "url": "", "caption": "Le aquile di Roma (Inno imperiale)", "link": "/items/demo_0779.html" }, "start_date": { "year": "1926 ?" }, "text": { "headline": "Le aquile di Roma (Inno imperiale)", "text": "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." } },{ "media": { "url": "", "caption": "Inno della Somalia italiana", "link": "/items/demo_0780.html" }, "start_date": { "year": "1926 ?" }, "text": { "headline": "Inno della Somalia italiana", "text": "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. " } },{ "media": { "url": "", "caption": "Inno all'ala", "link": "/items/demo_0781.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Inno all'ala" } },{ "media": { "url": "", "caption": "La canzone delle canzoni", "link": "/items/demo_0782.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "La canzone delle canzoni" } },{ "media": { "url": "", "caption": "La canzone del grappa", "link": "/items/demo_0783.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "La canzone del grappa", "text": "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)." } },{ "media": { "url": "", "caption": "All'armi !", "link": "/items/demo_0784.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "All'armi !", "text": "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." } },{ "media": { "url": "", "caption": "Inno dei Balilla", "link": "/items/demo_0785.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Inno dei Balilla", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza ", "link": "/items/demo_0786.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Giovinezza ", "text": "\"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)." } },{ "media": { "url": "", "caption": "Inno dei Balilla", "link": "/items/demo_0787.html" }, "start_date": { "year": "1925" }, "text": { "headline": "Inno dei Balilla", "text": "\"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. " } },{ "media": { "url": "", "caption": "All'armi !", "link": "/items/demo_0788.html" }, "start_date": { "year": "1925" }, "text": { "headline": "All'armi !", "text": "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. " } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0789.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Giovinezza", "text": "\"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. " } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_0790.html" }, "start_date": { "year": "1928" }, "text": { "headline": "La leggenda del Piave", "text": "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. " } },{ "media": { "url": "", "caption": "La canzone d'Italia", "link": "/items/demo_0791.html" }, "start_date": { "year": "1928" }, "text": { "headline": "La canzone d'Italia", "text": "The record on which this is recorded belongs to a collection of small-sized records. It is intended for children. " } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0792.html" }, "start_date": { "year": "1928" }, "text": { "headline": "Giovinezza", "text": "\"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. " } },{ "media": { "url": "", "caption": "Inno al fante", "link": "/items/demo_0793.html" }, "start_date": { "year": "1931" }, "text": { "headline": "Inno al fante" } },{ "media": { "url": "", "caption": "Ala imperiale", "link": "/items/demo_0794.html" }, "start_date": { "year": "1931" }, "text": { "headline": "Ala imperiale" } },{ "media": { "url": "", "caption": "Bimbe d'Italia", "link": "/items/demo_0795.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Bimbe d'Italia", "text": "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)." } },{ "media": { "url": "", "caption": "inno ufficiale dei balilla", "link": "/items/demo_0796.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "inno ufficiale dei balilla", "text": "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)." } },{ "media": { "url": "", "caption": "Battaglioni camicie nere", "link": "/items/demo_0797.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Battaglioni camicie nere", "text": "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)." } },{ "media": { "url": "", "caption": "Inno ufficiale degli studenti universitari fascisti", "link": "/items/demo_0798.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Inno ufficiale degli studenti universitari fascisti", "text": "This recording represents fascist university and student organizations." } },{ "media": { "url": "", "caption": "La ritirata (Marcia ufficiale della R. Marina Italiana)", "link": "/items/demo_0799.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "La ritirata (Marcia ufficiale della R. Marina Italiana)", "text": "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\")." } },{ "media": { "url": "", "caption": "Passano i Balilla", "link": "/items/demo_0800.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Passano i Balilla", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0801.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_0802.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Anima fascista", "link": "/items/demo_0803.html" }, "start_date": { "year": "1932" }, "text": { "headline": "Anima fascista" } },{ "media": { "url": "", "caption": "Aquila sabauda", "link": "/items/demo_0804.html" }, "start_date": { "year": "1932" }, "text": { "headline": "Aquila sabauda" } },{ "media": { "url": "", "caption": "La ritirata (Marcia ufficiale della Regia Marina Italiana)", "link": "/items/demo_0805.html" }, "start_date": { "year": "1932" }, "text": { "headline": "La ritirata (Marcia ufficiale della Regia Marina Italiana)", "text": "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\")." } },{ "media": { "url": "", "caption": "Marocco", "link": "/items/demo_0806.html" }, "start_date": { "year": "1932" }, "text": { "headline": "Marocco" } },{ "media": { "url": "", "caption": "Valida gens", "link": "/items/demo_0807.html" }, "start_date": { "year": "1931" }, "text": { "headline": "Valida gens" } },{ "media": { "url": "", "caption": "Alala'", "link": "/items/demo_0808.html" }, "start_date": { "year": "1931" }, "text": { "headline": "Alala'" } },{ "media": { "url": "", "caption": "La ritirata (Marcia ufficiale della R. Marina Italiana)", "link": "/items/demo_0809.html" }, "start_date": { "year": "1932 ?" }, "text": { "headline": "La ritirata (Marcia ufficiale della R. Marina Italiana)", "text": "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\")." } },{ "media": { "url": "", "caption": "Marocco", "link": "/items/demo_0810.html" }, "start_date": { "year": "1932 ?" }, "text": { "headline": "Marocco" } },{ "media": { "url": "", "caption": "Alala'", "link": "/items/demo_0811.html" }, "start_date": { "year": "1931" }, "text": { "headline": "Alala'" } },{ "media": { "url": "", "caption": "Valida gens", "link": "/items/demo_0812.html" }, "start_date": { "year": "1931" }, "text": { "headline": "Valida gens" } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0813.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Marcia reale italiana", "link": "/items/demo_0814.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "Marcia reale italiana", "text": "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." } },{ "media": { "url": "", "caption": "Inno di Roma", "link": "/items/demo_0815.html" }, "start_date": { "year": "1933 ?" }, "text": { "headline": "Inno di Roma", "text": "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." } },{ "media": { "url": "", "caption": "Littoria", "link": "/items/demo_0816.html" }, "start_date": { "year": "1933 ?" }, "text": { "headline": "Littoria", "text": "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\"." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_0817.html" }, "start_date": { "year": "1933 ?" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Gloria ai cavalieri di Malta", "link": "/items/demo_0818.html" }, "start_date": { "year": "1933 ?" }, "text": { "headline": "Gloria ai cavalieri di Malta" } },{ "media": { "url": "", "caption": "L'Urbe ", "link": "/items/demo_0819.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "L'Urbe " } },{ "media": { "url": "", "caption": "Inno trionfale al Duce", "link": "/items/demo_0820.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "Inno trionfale al Duce", "text": "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)." } },{ "media": { "url": "", "caption": "Inno delle scuole al Duce", "link": "/items/demo_0821.html" }, "start_date": { "year": "1933 ?" }, "text": { "headline": "Inno delle scuole al Duce", "text": "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)." } },{ "media": { "url": "", "caption": "Dopolavoro", "link": "/items/demo_0822.html" }, "start_date": { "year": "1933 ?" }, "text": { "headline": "Dopolavoro", "text": "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)." } },{ "media": { "url": "", "caption": "Inno dei Balilla", "link": "/items/demo_0823.html" }, "start_date": { "year": "1933 ?" }, "text": { "headline": "Inno dei Balilla", "text": "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. " } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0824.html" }, "start_date": { "year": "1933 ?" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Inno ufficiale dei giovanni fascisti", "link": "/items/demo_0825.html" }, "start_date": { "year": "1933 ?" }, "text": { "headline": "Inno ufficiale dei giovanni fascisti", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "Inno delle scuole al Duce", "link": "/items/demo_0826.html" }, "start_date": { "year": "1933 ?" }, "text": { "headline": "Inno delle scuole al Duce", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0827.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_0828.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Il canto del lavoro", "link": "/items/demo_0829.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "Il canto del lavoro", "text": "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.\"" } },{ "media": { "url": "", "caption": "Marcia reale italiana", "link": "/items/demo_0830.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "Marcia reale italiana", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0831.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Le aquile di Roma (Inno imperiale)", "link": "/items/demo_0832.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "Le aquile di Roma (Inno imperiale)", "text": "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." } },{ "media": { "url": "", "caption": "La canzone del grappa ", "link": "/items/demo_0833.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "La canzone del grappa ", "text": "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)." } },{ "media": { "url": "", "caption": "All'armi", "link": "/items/demo_0834.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "All'armi", "text": "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." } },{ "media": { "url": "", "caption": "La ritirata (Marcia ufficiale della Regia Marina Italiana)", "link": "/items/demo_0835.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "La ritirata (Marcia ufficiale della Regia Marina Italiana)", "text": "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\")." } },{ "media": { "url": "", "caption": "Marocco", "link": "/items/demo_0836.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "Marocco" } },{ "media": { "url": "", "caption": "La ritirata (Marcia ufficiale della Regia Marina Italiana)", "link": "/items/demo_0837.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "La ritirata (Marcia ufficiale della Regia Marina Italiana)", "text": "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\")." } },{ "media": { "url": "", "caption": "Passano i Balilla", "link": "/items/demo_0838.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "Passano i Balilla", "text": "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)." } },{ "media": { "url": "", "caption": "Inno dei Balilla", "link": "/items/demo_0839.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Inno dei Balilla", "text": "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. " } },{ "media": { "url": "", "caption": "Giovinezza ", "link": "/items/demo_0840.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Giovinezza ", "text": "\"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. " } },{ "media": { "url": "", "caption": "Marcia d'ordinanza del corpo delle Reale Guardia di Finanza", "link": "/items/demo_0841.html" }, "start_date": { "year": "1931" }, "text": { "headline": "Marcia d'ordinanza del corpo delle Reale Guardia di Finanza", "text": "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." } },{ "media": { "url": "", "caption": "Inno del Finanziere", "link": "/items/demo_0842.html" }, "start_date": { "year": "1931" }, "text": { "headline": "Inno del Finanziere", "text": "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." } },{ "media": { "url": "", "caption": "Ho scritto al Duce", "link": "/items/demo_0843.html" }, "start_date": { "year": "1932 ?" }, "text": { "headline": "Ho scritto al Duce", "text": "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)." } },{ "media": { "url": "", "caption": "Gente d'o Mare", "link": "/items/demo_0844.html" }, "start_date": { "year": "1932 ?" }, "text": { "headline": "Gente d'o Mare" } },{ "media": { "url": "", "caption": "Giovinezza ", "link": "/items/demo_0845.html" }, "start_date": { "year": "1932 ?" }, "text": { "headline": "Giovinezza ", "text": "\"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)." } },{ "media": { "url": "", "caption": "Marcia reale italiana", "link": "/items/demo_0846.html" }, "start_date": { "year": "1932 ?" }, "text": { "headline": "Marcia reale italiana", "text": "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." } },{ "media": { "url": "", "caption": "Marcia d'ordinanza del corpo delle Reale Guardia di Finanza", "link": "/items/demo_0847.html" }, "start_date": { "year": "1931" }, "text": { "headline": "Marcia d'ordinanza del corpo delle Reale Guardia di Finanza", "text": "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." } },{ "media": { "url": "", "caption": "Inno del Finanziere", "link": "/items/demo_0848.html" }, "start_date": { "year": "1931" }, "text": { "headline": "Inno del Finanziere", "text": "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." } },{ "media": { "url": "", "caption": "Erminia", "link": "/items/demo_0849.html" }, "start_date": { "year": "1931" }, "text": { "headline": "Erminia" } },{ "media": { "url": "", "caption": "Marcia africana", "link": "/items/demo_0850.html" }, "start_date": { "year": "1931" }, "text": { "headline": "Marcia africana" } },{ "media": { "url": "", "caption": "La ninna nanna dei Balilla", "link": "/items/demo_0851.html" }, "start_date": { "year": "1932 ?" }, "text": { "headline": "La ninna nanna dei Balilla", "text": "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)." } },{ "media": { "url": "", "caption": "Stornelli romani (d'amore)", "link": "/items/demo_0852.html" }, "start_date": { "year": "1932 ?" }, "text": { "headline": "Stornelli romani (d'amore)", "text": "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." } },{ "media": { "url": "", "caption": "Sonate mandolini", "link": "/items/demo_0853.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Sonate mandolini" } },{ "media": { "url": "", "caption": "Balilla eroico", "link": "/items/demo_0854.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Balilla eroico", "text": "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)." } },{ "media": { "url": "", "caption": "Marcia reale italiana", "link": "/items/demo_0855.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Marcia reale italiana", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0856.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Bimbe d'Italia", "link": "/items/demo_0857.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Bimbe d'Italia", "text": "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)." } },{ "media": { "url": "", "caption": "Inno dei Giovani fascisti", "link": "/items/demo_0858.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno dei Giovani fascisti", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "Canzone marinara", "link": "/items/demo_0859.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Canzone marinara", "text": "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)." } },{ "media": { "url": "", "caption": "Canto della montagna", "link": "/items/demo_0860.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Canto della montagna" } },{ "media": { "url": "", "caption": "Dux", "link": "/items/demo_0861.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Dux", "text": "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)." } },{ "media": { "url": "", "caption": "Ala imperiale", "link": "/items/demo_0862.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Ala imperiale" } },{ "media": { "url": "", "caption": "Inno dei Balilla Moschettieri", "link": "/items/demo_0863.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno dei Balilla Moschettieri", "text": "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)." } },{ "media": { "url": "", "caption": "La preghiera della patria (di S.A.R. Emanuele Filiberto Duca d'Aosta Musica del M° Giuseppe Pettinato)", "link": "/items/demo_0864.html" }, "start_date": { "year": "1935" }, "text": { "headline": "La preghiera della patria (di S.A.R. Emanuele Filiberto Duca d'Aosta Musica del M° Giuseppe Pettinato)" } },{ "media": { "url": "", "caption": "Preghiera dei Bimbi d'Italia (per la salvezza del Duce)", "link": "/items/demo_0865.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Preghiera dei Bimbi d'Italia (per la salvezza del Duce)", "text": "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)." } },{ "media": { "url": "", "caption": "Freccia d'oro", "link": "/items/demo_0866.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Freccia d'oro", "text": "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." } },{ "media": { "url": "", "caption": "Inno preghiera delle giovani e piccole italiane", "link": "/items/demo_0867.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Inno preghiera delle giovani e piccole italiane", "text": "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)." } },{ "media": { "url": "", "caption": "Inno per la festa degli alberi", "link": "/items/demo_0868.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Inno per la festa degli alberi", "text": "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)." } },{ "media": { "url": "", "caption": "Leggenda dei carabinieri", "link": "/items/demo_0869.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Leggenda dei carabinieri", "text": "Singer Gino Pastori is alleged to be 12 at the time of this recording." } },{ "media": { "url": "", "caption": "Duetto di bum e la reginetta (dall’ operetta \"Il talismano di Pin\")", "link": "/items/demo_0870.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Duetto di bum e la reginetta (dall’ operetta \"Il talismano di Pin\")", "text": "Singer Gino Pastori is alleged to be 12 at the time of this recording." } },{ "media": { "url": "", "caption": "Inno dei Giovani fascisti", "link": "/items/demo_0871.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno dei Giovani fascisti", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_0872.html" }, "start_date": { "year": "1935" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Inno dei Balilla", "link": "/items/demo_0873.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno dei Balilla", "text": "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)." } },{ "media": { "url": "", "caption": "Bimbe d'Italia", "link": "/items/demo_0874.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Bimbe d'Italia", "text": "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)." } },{ "media": { "url": "", "caption": "Stornelli neri", "link": "/items/demo_0875.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Stornelli neri", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Stornellata abissina", "link": "/items/demo_0876.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Stornellata abissina", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Ah! Cha Cha", "link": "/items/demo_0877.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ah! Cha Cha" } },{ "media": { "url": "", "caption": "La canzone dell'Africa", "link": "/items/demo_0878.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La canzone dell'Africa", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Ti saluto !… (…vado in Abissinia)", "link": "/items/demo_0879.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Ti saluto !… (…vado in Abissinia)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Autunno d'amore", "link": "/items/demo_0880.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Autunno d'amore" } },{ "media": { "url": "", "caption": "Canzone marinara", "link": "/items/demo_0881.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canzone marinara", "text": "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)." } },{ "media": { "url": "", "caption": "La preghiera della patria (di S.A.R. Emanuele Filiberto Duca d'Aosta)", "link": "/items/demo_0882.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La preghiera della patria (di S.A.R. Emanuele Filiberto Duca d'Aosta)" } },{ "media": { "url": "", "caption": "Inno dei Balilla Moschettieri", "link": "/items/demo_0883.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno dei Balilla Moschettieri", "text": "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)." } },{ "media": { "url": "", "caption": "Canto della montagna (inno degli alpini)", "link": "/items/demo_0884.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canto della montagna (inno degli alpini)" } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0885.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Marcia reale italiana", "link": "/items/demo_0886.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Marcia reale italiana", "text": "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." } },{ "media": { "url": "", "caption": "Inno dei Giovani fascisti", "link": "/items/demo_0887.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno dei Giovani fascisti", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "Ala imperiale (Canto nazionale)", "link": "/items/demo_0888.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ala imperiale (Canto nazionale)" } },{ "media": { "url": "", "caption": "Bimbe d'Italia", "link": "/items/demo_0889.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Bimbe d'Italia", "text": "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)." } },{ "media": { "url": "", "caption": "Dux", "link": "/items/demo_0890.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Dux", "text": "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)." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_0891.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Chitarra romana ", "link": "/items/demo_0892.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Chitarra romana ", "text": "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." } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_0893.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Inno marcia per i legionari dell'Africa orientale", "link": "/items/demo_0894.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno marcia per i legionari dell'Africa orientale", "text": "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." } },{ "media": { "url": "", "caption": "Africanella", "link": "/items/demo_0895.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Africanella", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Partono i soldatini", "link": "/items/demo_0896.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Partono i soldatini", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Er sor capanna in Africa - Parte I", "link": "/items/demo_0897.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Er sor capanna in Africa - Parte I", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Er sor capanna in Africa - Parte II", "link": "/items/demo_0898.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Er sor capanna in Africa - Parte II", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Povero Selassie' - Parte I", "link": "/items/demo_0899.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Povero Selassie' - Parte I", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Povero Selassie' - Parte II", "link": "/items/demo_0900.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Povero Selassie' - Parte II", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_0901.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Ti saluto !… (…vado in Abissinia)", "link": "/items/demo_0902.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Ti saluto !… (…vado in Abissinia)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_0903.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Resta con me", "link": "/items/demo_0904.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Resta con me" } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_0905.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "In Africa si va", "link": "/items/demo_0906.html" }, "start_date": { "year": "1935" }, "text": { "headline": "In Africa si va", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Canto dei Volontari", "link": "/items/demo_0907.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canto dei Volontari", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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 \"." } },{ "media": { "url": "", "caption": "Cuore d'Italia", "link": "/items/demo_0908.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Cuore d'Italia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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 \"." } },{ "media": { "url": "", "caption": "Vieni a Macalle' (Letterina coloniale)", "link": "/items/demo_0909.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Vieni a Macalle' (Letterina coloniale)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Macalle'", "link": "/items/demo_0910.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Macalle'", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Noi tireremo diritto", "link": "/items/demo_0911.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Noi tireremo diritto", "text": "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. " } },{ "media": { "url": "", "caption": "Inno d'Africa", "link": "/items/demo_0912.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno d'Africa" } },{ "media": { "url": "", "caption": "Avanti sempre", "link": "/items/demo_0913.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Avanti sempre" } },{ "media": { "url": "", "caption": "Voce d'italia", "link": "/items/demo_0914.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Voce d'italia" } },{ "media": { "url": "", "caption": "Ti saluto e vado in Abissinia", "link": "/items/demo_0915.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ti saluto e vado in Abissinia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "La canzone dell'Africa", "link": "/items/demo_0916.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La canzone dell'Africa", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_0917.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Inno marcia per i legionari dell'Africa orientale", "link": "/items/demo_0918.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno marcia per i legionari dell'Africa orientale", "text": "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." } },{ "media": { "url": "", "caption": "Vogliamo andare dal Negus Neghesti", "link": "/items/demo_0919.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Vogliamo andare dal Negus Neghesti", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Non piangere biondina", "link": "/items/demo_0920.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Non piangere biondina" } },{ "media": { "url": "", "caption": "Cara mamma ", "link": "/items/demo_0921.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Cara mamma " } },{ "media": { "url": "", "caption": "Parlami coi tuoi baci", "link": "/items/demo_0922.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Parlami coi tuoi baci" } },{ "media": { "url": "", "caption": "Tammurriata d'autunno", "link": "/items/demo_0923.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Tammurriata d'autunno" } },{ "media": { "url": "", "caption": "In Africa si va", "link": "/items/demo_0924.html" }, "start_date": { "year": "1936" }, "text": { "headline": "In Africa si va", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Terra redenta", "link": "/items/demo_0925.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Terra redenta", "text": "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\"." } },{ "media": { "url": "", "caption": "Leggenda d'Africa", "link": "/items/demo_0926.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Leggenda d'Africa" } },{ "media": { "url": "", "caption": "Cara mamma ", "link": "/items/demo_0927.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Cara mamma " } },{ "media": { "url": "", "caption": "Luna Malinconica", "link": "/items/demo_0928.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Luna Malinconica" } },{ "media": { "url": "", "caption": "Etiopia", "link": "/items/demo_0929.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Etiopia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Giovinezza ", "link": "/items/demo_0930.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Giovinezza ", "text": "\"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)." } },{ "media": { "url": "", "caption": "Marcia reale; Giovinezza; Inno a Roma", "link": "/items/demo_0931.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Marcia reale; Giovinezza; Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Inno dei Balilla Moschettieri; Bimbe d'Italia", "link": "/items/demo_0932.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Inno dei Balilla Moschettieri; Bimbe d'Italia", "text": "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)." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_0933.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0934.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Impero", "link": "/items/demo_0935.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Impero" } },{ "media": { "url": "", "caption": "Etiopia", "link": "/items/demo_0936.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Etiopia" } },{ "media": { "url": "", "caption": "Impero", "link": "/items/demo_0937.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Impero" } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_0938.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Ritorna il legionario ", "link": "/items/demo_0939.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ritorna il legionario ", "text": "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." } },{ "media": { "url": "", "caption": "Etiopia", "link": "/items/demo_0940.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Etiopia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Inno imperiale - La marcia delle Legioni", "link": "/items/demo_0941.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno imperiale - La marcia delle Legioni", "text": "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." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_0942.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "La fine del mondo - Parte I", "link": "/items/demo_0943.html" }, "start_date": { "year": "1937" }, "text": { "headline": "La fine del mondo - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "La fine del mondo - Parte II", "link": "/items/demo_0944.html" }, "start_date": { "year": "1937" }, "text": { "headline": "La fine del mondo - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Lavora, figlio moi, senza far pazzie - Parte I", "link": "/items/demo_0945.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Lavora, figlio moi, senza far pazzie - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Lavora, figlio moi, senza far pazzie - Parte II", "link": "/items/demo_0946.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Lavora, figlio moi, senza far pazzie - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Sei dolce o dolcetta ? - Parte I", "link": "/items/demo_0947.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Sei dolce o dolcetta ? - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Sei dolce o dolcetta ? - Parte II", "link": "/items/demo_0948.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Sei dolce o dolcetta ? - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Canzone di notte - Parte I", "link": "/items/demo_0949.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Canzone di notte - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Canzone di notte - Parte II", "link": "/items/demo_0950.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Canzone di notte - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "O Bruna ! Che debbo fare ? - Parte I", "link": "/items/demo_0951.html" }, "start_date": { "year": "1937" }, "text": { "headline": "O Bruna ! Che debbo fare ? - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "O Bruna ! Che debbo fare ? - Parte II", "link": "/items/demo_0952.html" }, "start_date": { "year": "1937" }, "text": { "headline": "O Bruna ! Che debbo fare ? - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Ho amato la ragazza che mi ha reso schiavo - Parte I", "link": "/items/demo_0953.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ho amato la ragazza che mi ha reso schiavo - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Ho amato la ragazza che mi ha reso schiavo - Parte II", "link": "/items/demo_0954.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ho amato la ragazza che mi ha reso schiavo - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Colui che calunnia - Parte I", "link": "/items/demo_0955.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Colui che calunnia - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Colui che calunnia - Parte II", "link": "/items/demo_0956.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Colui che calunnia - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "L'amore delle ragazze moderne è come la mirra - Parte I", "link": "/items/demo_0957.html" }, "start_date": { "year": "1937" }, "text": { "headline": "L'amore delle ragazze moderne è come la mirra - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "L'amore delle ragazze moderne è come la mirra - Parte II", "link": "/items/demo_0958.html" }, "start_date": { "year": "1937" }, "text": { "headline": "L'amore delle ragazze moderne è come la mirra - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "L'amore è une disgrazia - Parte I", "link": "/items/demo_0959.html" }, "start_date": { "year": "1937" }, "text": { "headline": "L'amore è une disgrazia - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "L'amore è une disgrazia - Parte II", "link": "/items/demo_0960.html" }, "start_date": { "year": "1937" }, "text": { "headline": "L'amore è une disgrazia - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Assolo di mandolino - Parte I", "link": "/items/demo_0961.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Assolo di mandolino - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Assolo di mandolino - Parte II", "link": "/items/demo_0962.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Assolo di mandolino - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Maolid (Lettura salmodiatica del Corano)", "link": "/items/demo_0963.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Maolid (Lettura salmodiatica del Corano)", "text": "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." } },{ "media": { "url": "", "caption": "Guelabiessi (Canto all'abbeveraggio dei cammelli) ", "link": "/items/demo_0964.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Guelabiessi (Canto all'abbeveraggio dei cammelli) ", "text": "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." } },{ "media": { "url": "", "caption": "Sadda (Canto nuziale per donne)", "link": "/items/demo_0965.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sadda (Canto nuziale per donne)", "text": "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." } },{ "media": { "url": "", "caption": "Lalle (Canto nuziale per uomini)", "link": "/items/demo_0966.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Lalle (Canto nuziale per uomini)", "text": "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." } },{ "media": { "url": "", "caption": "Kasso (Canto di festa)", "link": "/items/demo_0967.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Kasso (Canto di festa)", "text": "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." } },{ "media": { "url": "", "caption": "Kalo ouale (Canto profetico)", "link": "/items/demo_0968.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Kalo ouale (Canto profetico)", "text": "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." } },{ "media": { "url": "", "caption": "Ahobbon fi fouadi - Parte I", "link": "/items/demo_0969.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ahobbon fi fouadi - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Ahobbon fi fouadi - Parte II", "link": "/items/demo_0970.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ahobbon fi fouadi - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Faker ya rohi - Parte I", "link": "/items/demo_0971.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Faker ya rohi - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Faker ya rohi - Parte II", "link": "/items/demo_0972.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Faker ya rohi - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Ya rih al siba - Parte I", "link": "/items/demo_0973.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ya rih al siba - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Ya rih al siba - Parte II", "link": "/items/demo_0974.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ya rih al siba - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "An soleima - Parte I", "link": "/items/demo_0975.html" }, "start_date": { "year": "1937" }, "text": { "headline": "An soleima - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "An soleima - Parte II", "link": "/items/demo_0976.html" }, "start_date": { "year": "1937" }, "text": { "headline": "An soleima - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Ya guedalt el sed - Parte I", "link": "/items/demo_0977.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ya guedalt el sed - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Ya guedalt el sed - Parte II", "link": "/items/demo_0978.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ya guedalt el sed - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Ya zinat el baha - Parte I", "link": "/items/demo_0979.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ya zinat el baha - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Ya zinat el baha - Parte II", "link": "/items/demo_0980.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ya zinat el baha - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Ya nassiman - Parte I", "link": "/items/demo_0981.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ya nassiman - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Ya nassiman - Parte II", "link": "/items/demo_0982.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ya nassiman - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Howa elli Yeheb - Parte I", "link": "/items/demo_0983.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Howa elli Yeheb - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Howa elli Yeheb - Parte II", "link": "/items/demo_0984.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Howa elli Yeheb - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Ala kad chouki - Parte I", "link": "/items/demo_0985.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ala kad chouki - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Ala kad chouki - Parte II", "link": "/items/demo_0986.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ala kad chouki - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Baad ma dahet hayati - Parte I", "link": "/items/demo_0987.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Baad ma dahet hayati - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Baad ma dahet hayati - Parte II", "link": "/items/demo_0988.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Baad ma dahet hayati - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Maua (Semehu ya kwanza)", "link": "/items/demo_0989.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Maua (Semehu ya kwanza)", "text": "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." } },{ "media": { "url": "", "caption": "Maua (Semehu ya pili)", "link": "/items/demo_0990.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Maua (Semehu ya pili)", "text": "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." } },{ "media": { "url": "", "caption": "Lele na harisi (Sehemu ya kwanza)", "link": "/items/demo_0991.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Lele na harisi (Sehemu ya kwanza)", "text": "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." } },{ "media": { "url": "", "caption": "Lele na harisi (Sehemu ya pili)", "link": "/items/demo_0992.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Lele na harisi (Sehemu ya pili)", "text": "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." } },{ "media": { "url": "", "caption": "Kofia nyekundu", "link": "/items/demo_0993.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Kofia nyekundu", "text": "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." } },{ "media": { "url": "", "caption": "Tumkimiree Simba", "link": "/items/demo_0994.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Tumkimiree Simba", "text": "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." } },{ "media": { "url": "", "caption": "Mangala siyema", "link": "/items/demo_0995.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Mangala siyema", "text": "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." } },{ "media": { "url": "", "caption": "Nipe Changu kitumbua", "link": "/items/demo_0996.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Nipe Changu kitumbua", "text": "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." } },{ "media": { "url": "", "caption": "Askaz kumyenga", "link": "/items/demo_0997.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Askaz kumyenga", "text": "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." } },{ "media": { "url": "", "caption": "Habari ya milio ya wanyama", "link": "/items/demo_0998.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Habari ya milio ya wanyama", "text": "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." } },{ "media": { "url": "", "caption": "Hikaya ya abunuwasi - Seheme ya kwanza", "link": "/items/demo_0999.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Hikaya ya abunuwasi - Seheme ya kwanza", "text": "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." } },{ "media": { "url": "", "caption": "Hikaya ya abunuwasi - Seheme ya pili", "link": "/items/demo_1000.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Hikaya ya abunuwasi - Seheme ya pili", "text": "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." } },{ "media": { "url": "", "caption": "Taksim Hijazi", "link": "/items/demo_1001.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Taksim Hijazi", "text": "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." } },{ "media": { "url": "", "caption": "Besharaf nadi hijaz huka (Wimbo wa Vinanda vitatu)", "link": "/items/demo_1002.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Besharaf nadi hijaz huka (Wimbo wa Vinanda vitatu)", "text": "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." } },{ "media": { "url": "", "caption": "Mwakambeya", "link": "/items/demo_1003.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Mwakambeya", "text": "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." } },{ "media": { "url": "", "caption": "Natupige hodi", "link": "/items/demo_1004.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Natupige hodi", "text": "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." } },{ "media": { "url": "", "caption": "Kigarawa - Sehemu ya kwanza", "link": "/items/demo_1005.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Kigarawa - Sehemu ya kwanza", "text": "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." } },{ "media": { "url": "", "caption": "Kigarawa - Sehemu ya pili", "link": "/items/demo_1006.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Kigarawa - Sehemu ya pili", "text": "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." } },{ "media": { "url": "", "caption": "Taksim ya udi (Udi solo)", "link": "/items/demo_1007.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Taksim ya udi (Udi solo)", "text": "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." } },{ "media": { "url": "", "caption": "Taksim ya fidla (Fiddle solo)", "link": "/items/demo_1008.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Taksim ya fidla (Fiddle solo)", "text": "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." } },{ "media": { "url": "", "caption": "Ninna nanna imperiale", "link": "/items/demo_1009.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ninna nanna imperiale" } },{ "media": { "url": "", "caption": "Ninna nanna", "link": "/items/demo_1010.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ninna nanna" } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_1011.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Ninna nanna azzura", "link": "/items/demo_1012.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ninna nanna azzura", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1013.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Ti saluto !… (…vado in Abissinia)", "link": "/items/demo_1014.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ti saluto !… (…vado in Abissinia)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Figli d'Italia", "link": "/items/demo_1015.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Figli d'Italia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Riconoscenza", "link": "/items/demo_1016.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Riconoscenza", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Guadalajara", "link": "/items/demo_1017.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Guadalajara", "text": "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." } },{ "media": { "url": "", "caption": "Spagnolita", "link": "/items/demo_1018.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Spagnolita", "text": "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." } },{ "media": { "url": "", "caption": "Letterine d'Africa ", "link": "/items/demo_1019.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Letterine d'Africa ", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Raggio di sole", "link": "/items/demo_1020.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Raggio di sole" } },{ "media": { "url": "", "caption": "Recitare", "link": "/items/demo_1021.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Recitare" } },{ "media": { "url": "", "caption": "Spagnolita", "link": "/items/demo_1022.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Spagnolita", "text": "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." } },{ "media": { "url": "", "caption": "Ti portero' con me in Abissinia", "link": "/items/demo_1023.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ti portero' con me in Abissinia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Signora spich inglese", "link": "/items/demo_1024.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Signora spich inglese" } },{ "media": { "url": "", "caption": "Frecce nere", "link": "/items/demo_1025.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Frecce nere", "text": "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." } },{ "media": { "url": "", "caption": "La canzone della vittoria", "link": "/items/demo_1026.html" }, "start_date": { "year": "1937" }, "text": { "headline": "La canzone della vittoria", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Arriba Espana", "link": "/items/demo_1027.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Arriba Espana", "text": "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." } },{ "media": { "url": "", "caption": "Cantate di legionari", "link": "/items/demo_1028.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Cantate di legionari", "text": "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." } },{ "media": { "url": "", "caption": "Duce, Duce, Duce", "link": "/items/demo_1029.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Duce, Duce, Duce", "text": "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)." } },{ "media": { "url": "", "caption": "Ritorna il legionario ", "link": "/items/demo_1030.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ritorna il legionario ", "text": "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." } },{ "media": { "url": "", "caption": "La madonnina degli aviatori", "link": "/items/demo_1031.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La madonnina degli aviatori", "text": "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]" } },{ "media": { "url": "", "caption": "Il canto dell'aviatore", "link": "/items/demo_1032.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Il canto dell'aviatore", "text": "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]" } },{ "media": { "url": "", "caption": "C'era una volta il Negus", "link": "/items/demo_1033.html" }, "start_date": { "year": "1936" }, "text": { "headline": "C'era una volta il Negus", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Ti porto in Italia", "link": "/items/demo_1034.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ti porto in Italia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "L'eroe reggino", "link": "/items/demo_1035.html" }, "start_date": { "year": "1937" }, "text": { "headline": "L'eroe reggino", "text": "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]" } },{ "media": { "url": "", "caption": "L'Italia protettrice", "link": "/items/demo_1036.html" }, "start_date": { "year": "1937" }, "text": { "headline": "L'Italia protettrice", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Avanti o Italia", "link": "/items/demo_1037.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Avanti o Italia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Africa nostra", "link": "/items/demo_1038.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Africa nostra", "text": "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." } },{ "media": { "url": "", "caption": "È finito il bel tempo che fu", "link": "/items/demo_1039.html" }, "start_date": { "year": "1937" }, "text": { "headline": "È finito il bel tempo che fu", "text": "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. " } },{ "media": { "url": "", "caption": "Valzer vagabondo", "link": "/items/demo_1040.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Valzer vagabondo" } },{ "media": { "url": "", "caption": "Soldatino bianco", "link": "/items/demo_1041.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Soldatino bianco" } },{ "media": { "url": "", "caption": "Africa nostra (Inno dei Legionari Africani)", "link": "/items/demo_1042.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Africa nostra (Inno dei Legionari Africani)", "text": "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." } },{ "media": { "url": "", "caption": "O Duce d'Italia", "link": "/items/demo_1043.html" }, "start_date": { "year": "1936" }, "text": { "headline": "O Duce d'Italia", "text": "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)." } },{ "media": { "url": "", "caption": "Soldati d'Impero", "link": "/items/demo_1044.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Soldati d'Impero", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Il mondo che fa ?", "link": "/items/demo_1045.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Il mondo che fa ?" } },{ "media": { "url": "", "caption": "L'imperatore si confessa (Povero, povero Sellassiè)", "link": "/items/demo_1046.html" }, "start_date": { "year": "1937" }, "text": { "headline": "L'imperatore si confessa (Povero, povero Sellassiè)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Te chiami Italia", "link": "/items/demo_1047.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Te chiami Italia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Surdato del lavoro", "link": "/items/demo_1048.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Surdato del lavoro", "text": "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. " } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_1049.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Tu mi piaci", "link": "/items/demo_1050.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Tu mi piaci" } },{ "media": { "url": "", "caption": "Partenza del volontario", "link": "/items/demo_1051.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Partenza del volontario", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Riconoscenza", "link": "/items/demo_1052.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Riconoscenza", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1053.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Canto dei volontari", "link": "/items/demo_1054.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Canto dei volontari", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1055.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_1056.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Canto della Massaia", "link": "/items/demo_1057.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Canto della Massaia" } },{ "media": { "url": "", "caption": "Frecce nere", "link": "/items/demo_1058.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Frecce nere", "text": "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." } },{ "media": { "url": "", "caption": "La cancion del legionario (Viva la muerte)", "link": "/items/demo_1059.html" }, "start_date": { "year": "1938" }, "text": { "headline": "La cancion del legionario (Viva la muerte)", "text": "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." } },{ "media": { "url": "", "caption": "I tre condottieri", "link": "/items/demo_1060.html" }, "start_date": { "year": "1938" }, "text": { "headline": "I tre condottieri", "text": "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." } },{ "media": { "url": "", "caption": "Gioventù del Littorio", "link": "/items/demo_1061.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Gioventù del Littorio", "text": "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)." } },{ "media": { "url": "", "caption": "Bimbe del littorio", "link": "/items/demo_1062.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Bimbe del littorio", "text": "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)." } },{ "media": { "url": "", "caption": "Inno al re imperatore", "link": "/items/demo_1063.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Inno al re imperatore" } },{ "media": { "url": "", "caption": "L'eroe di Agos Corarò", "link": "/items/demo_1064.html" }, "start_date": { "year": "1937" }, "text": { "headline": "L'eroe di Agos Corarò" } },{ "media": { "url": "", "caption": "Canzone eterna", "link": "/items/demo_1065.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Canzone eterna", "text": "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)." } },{ "media": { "url": "", "caption": "La canzone dell'operaio", "link": "/items/demo_1066.html" }, "start_date": { "year": "1937" }, "text": { "headline": "La canzone dell'operaio", "text": "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)." } },{ "media": { "url": "", "caption": "Addis Abeba", "link": "/items/demo_1067.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Addis Abeba", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Piangi violino", "link": "/items/demo_1068.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Piangi violino" } },{ "media": { "url": "", "caption": "O rondinella, camicina nera", "link": "/items/demo_1069.html" }, "start_date": { "year": "1936" }, "text": { "headline": "O rondinella, camicina nera", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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)." } },{ "media": { "url": "", "caption": "Africanella (1894)", "link": "/items/demo_1070.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Africanella (1894)" } },{ "media": { "url": "", "caption": "Parata imperiale (marcia per passo romano)", "link": "/items/demo_1071.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Parata imperiale (marcia per passo romano)" } },{ "media": { "url": "", "caption": "Aviazione legionaria", "link": "/items/demo_1072.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Aviazione legionaria", "text": "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]" } },{ "media": { "url": "", "caption": "Guidona", "link": "/items/demo_1073.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Guidona" } },{ "media": { "url": "", "caption": "Ala fascista", "link": "/items/demo_1074.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Ala fascista" } },{ "media": { "url": "", "caption": "Vecchia Marcia Militare", "link": "/items/demo_1075.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Vecchia Marcia Militare", "text": "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]" } },{ "media": { "url": "", "caption": "Inno all'aviatore", "link": "/items/demo_1076.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Inno all'aviatore", "text": "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]" } },{ "media": { "url": "", "caption": "Pisellino si presenta", "link": "/items/demo_1077.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Pisellino si presenta" } },{ "media": { "url": "", "caption": "Pisellino a scuola", "link": "/items/demo_1078.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Pisellino a scuola" } },{ "media": { "url": "", "caption": "Pisellino e i soldatini", "link": "/items/demo_1079.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Pisellino e i soldatini" } },{ "media": { "url": "", "caption": "Pisellino va in campagna", "link": "/items/demo_1080.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Pisellino va in campagna" } },{ "media": { "url": "", "caption": "Pisellino ai giardini pubblici", "link": "/items/demo_1081.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Pisellino ai giardini pubblici" } },{ "media": { "url": "", "caption": "Pisellino in Africana", "link": "/items/demo_1082.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Pisellino in Africana" } },{ "media": { "url": "", "caption": "Marcia Reale e Imperiale", "link": "/items/demo_1083.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Marcia Reale e Imperiale", "text": "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." } },{ "media": { "url": "", "caption": "Inno al mare di Roma", "link": "/items/demo_1084.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno al mare di Roma", "text": "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." } },{ "media": { "url": "", "caption": "Gioventù del Littorio", "link": "/items/demo_1085.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Gioventù del Littorio" } },{ "media": { "url": "", "caption": "Moschetto e vanga", "link": "/items/demo_1086.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Moschetto e vanga" } },{ "media": { "url": "", "caption": "Franco vittorioso (La canzone della Vittoria della Spagna Nazionale)", "link": "/items/demo_1087.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Franco vittorioso (La canzone della Vittoria della Spagna Nazionale)", "text": "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." } },{ "media": { "url": "", "caption": "Ritornaro gli Eroi", "link": "/items/demo_1088.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Ritornaro gli Eroi", "text": "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." } },{ "media": { "url": "", "caption": "Inno dell'Impero", "link": "/items/demo_1089.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno dell'Impero" } },{ "media": { "url": "", "caption": "Inno dei Giovani fascisti", "link": "/items/demo_1090.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno dei Giovani fascisti", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "Inno dell'Impero", "link": "/items/demo_1091.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno dell'Impero" } },{ "media": { "url": "", "caption": "Prehiera dei Legionario prima della battaglia", "link": "/items/demo_1092.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Prehiera dei Legionario prima della battaglia", "text": "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." } },{ "media": { "url": "", "caption": "La morte della mula di Batteria (Simultaneità in parole in libertà futuriste) dal \"Poema Africano\"", "link": "/items/demo_1093.html" }, "start_date": { "year": "1937" }, "text": { "headline": "La morte della mula di Batteria (Simultaneità in parole in libertà futuriste) dal \"Poema Africano\"" } },{ "media": { "url": "", "caption": "La difesa del Passo Uarieu (Simultaneità in parole in libertà futuriste) dal \"Poema Africano\"", "link": "/items/demo_1094.html" }, "start_date": { "year": "1937" }, "text": { "headline": "La difesa del Passo Uarieu (Simultaneità in parole in libertà futuriste) dal \"Poema Africano\"" } },{ "media": { "url": "", "caption": "Fanfare e Marcia Reale", "link": "/items/demo_1095.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Fanfare e Marcia Reale", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1096.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1097.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Inno Pontifico", "link": "/items/demo_1098.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Inno Pontifico", "text": "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." } },{ "media": { "url": "", "caption": "Marcia della ritirata della R. Marina", "link": "/items/demo_1099.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Marcia della ritirata della R. Marina", "text": "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\")." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_1100.html" }, "start_date": { "year": "1930" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Inno di Garibaldi", "link": "/items/demo_1101.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Inno di Garibaldi" } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1102.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Fanfare e Marcia Reale Italiana", "link": "/items/demo_1103.html" }, "start_date": { "year": "1930 ?" }, "text": { "headline": "Fanfare e Marcia Reale Italiana", "text": "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." } },{ "media": { "url": "", "caption": "La Brabançonne", "link": "/items/demo_1104.html" }, "start_date": { "year": "1930 ?" }, "text": { "headline": "La Brabançonne", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza ", "link": "/items/demo_1105.html" }, "start_date": { "year": "1930 ?" }, "text": { "headline": "Giovinezza ", "text": "\"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)." } },{ "media": { "url": "", "caption": "Il Condottiero (Canzone degli squadristi)", "link": "/items/demo_1106.html" }, "start_date": { "year": "1930 ?" }, "text": { "headline": "Il Condottiero (Canzone degli squadristi)", "text": "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)." } },{ "media": { "url": "", "caption": "Avanguardisti a noi !", "link": "/items/demo_1107.html" }, "start_date": { "year": "1930 ?" }, "text": { "headline": "Avanguardisti a noi !", "text": "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)." } },{ "media": { "url": "", "caption": "Il canto del lavoro", "link": "/items/demo_1108.html" }, "start_date": { "year": "1930 ?" }, "text": { "headline": "Il canto del lavoro", "text": "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.\"" } },{ "media": { "url": "", "caption": "Inno del Finanziere", "link": "/items/demo_1109.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Inno del Finanziere", "text": "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." } },{ "media": { "url": "", "caption": "Marcia d'ordinanza del corpo delle Reale Guardia di Finanza", "link": "/items/demo_1110.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Marcia d'ordinanza del corpo delle Reale Guardia di Finanza", "text": "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." } },{ "media": { "url": "", "caption": "Inno hilteriano (Die Fahne hoch !) (Horst Wessel-Lied)", "link": "/items/demo_1111.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Inno hilteriano (Die Fahne hoch !) (Horst Wessel-Lied)", "text": "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." } },{ "media": { "url": "", "caption": "Inno nazionale tedesco (Deutschland, Deutschland über alles)", "link": "/items/demo_1112.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Inno nazionale tedesco (Deutschland, Deutschland über alles)", "text": "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." } },{ "media": { "url": "", "caption": "Marcia Reale; Giovinezza", "link": "/items/demo_1113.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Marcia Reale; Giovinezza", "text": "\"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." } },{ "media": { "url": "", "caption": "All'armi !", "link": "/items/demo_1114.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "All'armi !", "text": "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." } },{ "media": { "url": "", "caption": "Inno dei Giovani fascisti", "link": "/items/demo_1115.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Inno dei Giovani fascisti", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "All'armi !", "link": "/items/demo_1116.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "All'armi !", "text": "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." } },{ "media": { "url": "", "caption": "La canzone del Grappa", "link": "/items/demo_1117.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "La canzone del Grappa", "text": "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)." } },{ "media": { "url": "", "caption": "Marcia della ritirata della R. Marina", "link": "/items/demo_1118.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Marcia della ritirata della R. Marina", "text": "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\")." } },{ "media": { "url": "", "caption": "Inno del decennale", "link": "/items/demo_1119.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Inno del decennale", "text": "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)." } },{ "media": { "url": "", "caption": "La canzone del Grappa", "link": "/items/demo_1120.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "La canzone del Grappa", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1121.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Marcia reale italiana", "link": "/items/demo_1122.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Marcia reale italiana", "text": "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." } },{ "media": { "url": "", "caption": "Balilla (Inno ufficiale dei fanciulli fascisti)", "link": "/items/demo_1123.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Balilla (Inno ufficiale dei fanciulli fascisti)", "text": "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)." } },{ "media": { "url": "", "caption": "Marcia delle Legioni (Inno imperiale)", "link": "/items/demo_1124.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Marcia delle Legioni (Inno imperiale)", "text": "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." } },{ "media": { "url": "", "caption": "Bimbe d'Italia", "link": "/items/demo_1125.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Bimbe d'Italia", "text": "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)." } },{ "media": { "url": "", "caption": "Giovanni Fascisti", "link": "/items/demo_1126.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Giovanni Fascisti", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "Decennale Littorio (Inno trionfale per il passo di parata delle Legioni Giovanili del’O.N.B.)", "link": "/items/demo_1127.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Decennale Littorio (Inno trionfale per il passo di parata delle Legioni Giovanili del’O.N.B.)", "text": "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)." } },{ "media": { "url": "", "caption": "Balilla (Inno ufficiale dei fanciulli fascisti)", "link": "/items/demo_1128.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Balilla (Inno ufficiale dei fanciulli fascisti)", "text": "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)." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_1129.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Giovanni Fascisti (Inno ufficiale)", "link": "/items/demo_1130.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Giovanni Fascisti (Inno ufficiale)", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "O.N.D.", "link": "/items/demo_1131.html" }, "start_date": { "year": "1935" }, "text": { "headline": "O.N.D.", "text": "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)." } },{ "media": { "url": "", "caption": "Inno degli sciatori", "link": "/items/demo_1132.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno degli sciatori" } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1133.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Balilla", "link": "/items/demo_1134.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Balilla", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1135.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave (Canzone marcia nazionale)", "link": "/items/demo_1136.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "La leggenda del Piave (Canzone marcia nazionale)", "text": "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)." } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_1137.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Adua" } },{ "media": { "url": "", "caption": "Cara mamma", "link": "/items/demo_1138.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Cara mamma" } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1139.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Ti saluto !… (…vado in Abissinia)", "link": "/items/demo_1140.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Ti saluto !… (…vado in Abissinia)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Ti saluto !… (…vado in Abissinia)", "link": "/items/demo_1141.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Ti saluto !… (…vado in Abissinia)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Inno dei Balilla Moschettieri", "link": "/items/demo_1142.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno dei Balilla Moschettieri", "text": "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)." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1143.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Africanella", "link": "/items/demo_1144.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Africanella" } },{ "media": { "url": "", "caption": "Cara mamma", "link": "/items/demo_1145.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Cara mamma" } },{ "media": { "url": "", "caption": "Ti manderò una cartolina", "link": "/items/demo_1146.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Ti manderò una cartolina", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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)." } },{ "media": { "url": "", "caption": "Macallè", "link": "/items/demo_1147.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Macallè", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Canzone azzura", "link": "/items/demo_1148.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Canzone azzura", "text": "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]" } },{ "media": { "url": "", "caption": "Luce di Roma", "link": "/items/demo_1149.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Luce di Roma", "text": "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." } },{ "media": { "url": "", "caption": "la canzone della neve (Canzone degli alpini)", "link": "/items/demo_1150.html" }, "start_date": { "year": "1935" }, "text": { "headline": "la canzone della neve (Canzone degli alpini)" } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1151.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Quest'è la donna", "link": "/items/demo_1152.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Quest'è la donna" } },{ "media": { "url": "", "caption": "Cara mamma", "link": "/items/demo_1153.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Cara mamma" } },{ "media": { "url": "", "caption": "Rosario", "link": "/items/demo_1154.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Rosario" } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_1155.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Nanà", "link": "/items/demo_1156.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Nanà" } },{ "media": { "url": "", "caption": "Marcia Reale Imperiale italiana", "link": "/items/demo_1157.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Marcia Reale Imperiale italiana", "text": "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." } },{ "media": { "url": "", "caption": "Asse Roma-Berlino", "link": "/items/demo_1158.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Asse Roma-Berlino", "text": "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." } },{ "media": { "url": "", "caption": "Inno della Gioventù Italiana del Littorio", "link": "/items/demo_1159.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Inno della Gioventù Italiana del Littorio" } },{ "media": { "url": "", "caption": "I sorci verdi", "link": "/items/demo_1160.html" }, "start_date": { "year": "1938" }, "text": { "headline": "I sorci verdi", "text": "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." } },{ "media": { "url": "", "caption": "Inno della Vecchia Guardia", "link": "/items/demo_1161.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Inno della Vecchia Guardia" } },{ "media": { "url": "", "caption": "Canto dei Falangisti", "link": "/items/demo_1162.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Canto dei Falangisti" } },{ "media": { "url": "", "caption": "Impero", "link": "/items/demo_1163.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Impero" } },{ "media": { "url": "", "caption": "Saluto al Duce", "link": "/items/demo_1164.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Saluto al Duce", "text": "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." } },{ "media": { "url": "", "caption": "Impero", "link": "/items/demo_1165.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Impero" } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1166.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1167.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Africanella", "link": "/items/demo_1168.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Africanella" } },{ "media": { "url": "", "caption": "Per la gloria di Roma nel mondo (Orazione di S.E. il Sen. INNOCENZO CAPPA) - Parte I", "link": "/items/demo_1169.html" }, "start_date": { "year": "1938 ?" }, "text": { "headline": "Per la gloria di Roma nel mondo (Orazione di S.E. il Sen. INNOCENZO CAPPA) - Parte I", "text": "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." } },{ "media": { "url": "", "caption": "Per la gloria di Roma nel mondo (Orazione di S.E. il Sen. INNOCENZO CAPPA) - Parte II", "link": "/items/demo_1170.html" }, "start_date": { "year": "1938 ?" }, "text": { "headline": "Per la gloria di Roma nel mondo (Orazione di S.E. il Sen. INNOCENZO CAPPA) - Parte II", "text": "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." } },{ "media": { "url": "", "caption": "Guadalajara (La canzone delle Frecce nere)", "link": "/items/demo_1171.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Guadalajara (La canzone delle Frecce nere)", "text": "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." } },{ "media": { "url": "", "caption": "La canzone della vittoria", "link": "/items/demo_1172.html" }, "start_date": { "year": "1937" }, "text": { "headline": "La canzone della vittoria" } },{ "media": { "url": "", "caption": "Etiopia", "link": "/items/demo_1173.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Etiopia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "La marcia delle legioni", "link": "/items/demo_1174.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La marcia delle legioni", "text": "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." } },{ "media": { "url": "", "caption": "Etiopia", "link": "/items/demo_1175.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Etiopia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Ritorna il legionario ", "link": "/items/demo_1176.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ritorna il legionario ", "text": "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." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1177.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_1178.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_1179.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "L'Italia ha vinto", "link": "/items/demo_1180.html" }, "start_date": { "year": "1936" }, "text": { "headline": "L'Italia ha vinto", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Bandiere al sole (Inno imperiale)", "link": "/items/demo_1181.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Bandiere al sole (Inno imperiale)" } },{ "media": { "url": "", "caption": "Inno dell'Artigliere ", "link": "/items/demo_1182.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno dell'Artigliere " } },{ "media": { "url": "", "caption": "La madonnina degli aviatori", "link": "/items/demo_1183.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La madonnina degli aviatori", "text": "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]" } },{ "media": { "url": "", "caption": "I Bersaglieri Neri (\"La Canzone dei Dubat\")", "link": "/items/demo_1184.html" }, "start_date": { "year": "1936" }, "text": { "headline": "I Bersaglieri Neri (\"La Canzone dei Dubat\")" } },{ "media": { "url": "", "caption": "Stornelli neri", "link": "/items/demo_1185.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Stornelli neri", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Stornellata abissina", "link": "/items/demo_1186.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Stornellata abissina", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Coro dei volontari", "link": "/items/demo_1187.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Coro dei volontari", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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 \"." } },{ "media": { "url": "", "caption": "O mia vita", "link": "/items/demo_1188.html" }, "start_date": { "year": "1936" }, "text": { "headline": "O mia vita", "text": "This song is from the movie \"Amo te sola\"." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1189.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_1190.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "La \"Disperata\"", "link": "/items/demo_1191.html" }, "start_date": { "year": "1935" }, "text": { "headline": "La \"Disperata\"", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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. " } },{ "media": { "url": "", "caption": "Combattenti a noi !", "link": "/items/demo_1192.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Combattenti a noi !", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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" } },{ "media": { "url": "", "caption": "Diana d'Italia (Inno dell'Africa Orientale)", "link": "/items/demo_1193.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Diana d'Italia (Inno dell'Africa Orientale)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Inno dei Balilla Moschettieri", "link": "/items/demo_1194.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno dei Balilla Moschettieri", "text": "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)." } },{ "media": { "url": "", "caption": "Cantate di legionari", "link": "/items/demo_1195.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Cantate di legionari", "text": "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." } },{ "media": { "url": "", "caption": "Col mazzolin di fiori", "link": "/items/demo_1196.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Col mazzolin di fiori", "text": "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)." } },{ "media": { "url": "", "caption": "Ritorna il legionario", "link": "/items/demo_1197.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ritorna il legionario", "text": "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." } },{ "media": { "url": "", "caption": "Inno dei Balilla Moschettieri", "link": "/items/demo_1198.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Inno dei Balilla Moschettieri", "text": "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)." } },{ "media": { "url": "", "caption": "La canzone di Maria Uva", "link": "/items/demo_1199.html" }, "start_date": { "year": "1937" }, "text": { "headline": "La canzone di Maria Uva", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Canzone di Maria", "link": "/items/demo_1200.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Canzone di Maria", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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 \"." } },{ "media": { "url": "", "caption": "Me ne frego", "link": "/items/demo_1201.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Me ne frego", "text": "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. " } },{ "media": { "url": "", "caption": "Italia, in piedi !", "link": "/items/demo_1202.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Italia, in piedi !" } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1203.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_1204.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Canzoni d'Africa - Parte I (faccetta nera - Africanella - Adua)", "link": "/items/demo_1205.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canzoni d'Africa - Parte I (faccetta nera - Africanella - Adua)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Canzoni d'Africa - Parte II (Coro dei volontari - Macallè - Canzone azzura)", "link": "/items/demo_1206.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canzoni d'Africa - Parte II (Coro dei volontari - Macallè - Canzone azzura)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Si parte per l’A.O. [Africa Orientale]", "link": "/items/demo_1207.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Si parte per l’A.O. [Africa Orientale]", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "In Abissinia (\"Alla barba del Negus\")", "link": "/items/demo_1208.html" }, "start_date": { "year": "1935" }, "text": { "headline": "In Abissinia (\"Alla barba del Negus\")", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Macallè (…Ritorna Galliano !…)", "link": "/items/demo_1209.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Macallè (…Ritorna Galliano !…)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_1210.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Vieni a Macallè", "link": "/items/demo_1211.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Vieni a Macallè", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Chissà il Negus che cosa dira", "link": "/items/demo_1212.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Chissà il Negus che cosa dira", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Ci rivedremo… (A Addis Abeba..!)", "link": "/items/demo_1213.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ci rivedremo… (A Addis Abeba..!)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "?", "link": "/items/demo_1214.html" }, "start_date": { "year": "1936" }, "text": { "headline": "?" } },{ "media": { "url": "", "caption": "Canto dei volontari", "link": "/items/demo_1215.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canto dei volontari", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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 \"." } },{ "media": { "url": "", "caption": "O rondinella, camicina nera", "link": "/items/demo_1216.html" }, "start_date": { "year": "1936" }, "text": { "headline": "O rondinella, camicina nera", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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)." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1217.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "?", "link": "/items/demo_1218.html" }, "start_date": { "year": "1936" }, "text": { "headline": "?" } },{ "media": { "url": "", "caption": "Il Caporale dei pompieri", "link": "/items/demo_1219.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Il Caporale dei pompieri" } },{ "media": { "url": "", "caption": "Abissinia", "link": "/items/demo_1220.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Abissinia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). " } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_1221.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "?", "link": "/items/demo_1222.html" }, "start_date": { "year": "1935" }, "text": { "headline": "?" } },{ "media": { "url": "", "caption": "Stornelli Africani", "link": "/items/demo_1223.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Stornelli Africani" } },{ "media": { "url": "", "caption": "Ti saluto !… (vado in Abissinia)", "link": "/items/demo_1224.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Ti saluto !… (vado in Abissinia)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "La sagra di Giarabub ", "link": "/items/demo_1225.html" }, "start_date": { "year": "1942" }, "text": { "headline": "La sagra di Giarabub " } },{ "media": { "url": "", "caption": "?", "link": "/items/demo_1226.html" }, "start_date": { "year": "1942" }, "text": { "headline": "?" } },{ "media": { "url": "", "caption": "Lili Marleen", "link": "/items/demo_1227.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Lili Marleen", "text": "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." } },{ "media": { "url": "", "caption": "Caro papà", "link": "/items/demo_1228.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Caro papà", "text": "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)." } },{ "media": { "url": "", "caption": "Ninna nanna grigioverde", "link": "/items/demo_1229.html" }, "start_date": { "year": "1943" }, "text": { "headline": "Ninna nanna grigioverde", "text": "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 \"." } },{ "media": { "url": "", "caption": "Tu non mi lascerai", "link": "/items/demo_1230.html" }, "start_date": { "year": "1943" }, "text": { "headline": "Tu non mi lascerai", "text": "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 \"." } },{ "media": { "url": "", "caption": "Inno all'Impero", "link": "/items/demo_1231.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Inno all'Impero", "text": "Testo tratto dal discorso del Duce del 9 Maggio XIV" } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_1232.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Fanfara dei bersaglieri", "link": "/items/demo_1233.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Fanfara dei bersaglieri" } },{ "media": { "url": "", "caption": "Giovani Fascisti", "link": "/items/demo_1234.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Giovani Fascisti", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "Marcia reale italiana", "link": "/items/demo_1235.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "Marcia reale italiana", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1236.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Marcia d'ordinanza del corpo della R. Marina", "link": "/items/demo_1237.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Marcia d'ordinanza del corpo della R. Marina", "text": "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" } },{ "media": { "url": "", "caption": "Omaggio", "link": "/items/demo_1238.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Omaggio" } },{ "media": { "url": "", "caption": "Sveglia tedesca", "link": "/items/demo_1239.html" }, "start_date": { "year": "1938 ?" }, "text": { "headline": "Sveglia tedesca", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1240.html" }, "start_date": { "year": "1938 ?" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_1241.html" }, "start_date": { "year": "1931 ?" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "La canzone del Grappa ", "link": "/items/demo_1242.html" }, "start_date": { "year": "1931 ?" }, "text": { "headline": "La canzone del Grappa ", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1243.html" }, "start_date": { "year": "1931 ?" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Marcia reale", "link": "/items/demo_1244.html" }, "start_date": { "year": "1931 ?" }, "text": { "headline": "Marcia reale", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1245.html" }, "start_date": { "year": "1931 ?" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "La ritirata (Marcia d'ordinanza della Regia Marina Italiana)", "link": "/items/demo_1246.html" }, "start_date": { "year": "1931 ?" }, "text": { "headline": "La ritirata (Marcia d'ordinanza della Regia Marina Italiana)", "text": "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\")." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_1247.html" }, "start_date": { "year": "1929" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Rusticanella", "link": "/items/demo_1248.html" }, "start_date": { "year": "1929" }, "text": { "headline": "Rusticanella", "text": "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)." } },{ "media": { "url": "", "caption": "Tarantella Imperiale", "link": "/items/demo_1249.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Tarantella Imperiale" } },{ "media": { "url": "", "caption": "Cos'è questo, cos'è quello", "link": "/items/demo_1250.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Cos'è questo, cos'è quello" } },{ "media": { "url": "", "caption": "Chissà il negus che cosa dirà", "link": "/items/demo_1251.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Chissà il negus che cosa dirà", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Marcetta nera", "link": "/items/demo_1252.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Marcetta nera", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Cos'è questo, cos'è quello", "link": "/items/demo_1253.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Cos'è questo, cos'è quello" } },{ "media": { "url": "", "caption": "Canzone scema", "link": "/items/demo_1254.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Canzone scema" } },{ "media": { "url": "", "caption": "Soldato ignoto", "link": "/items/demo_1255.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "Soldato ignoto", "text": "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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_1256.html" }, "start_date": { "year": "1929 ?" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "L'Epopea del Piave - Primo e secondo episodio", "link": "/items/demo_1257.html" }, "start_date": { "year": "1922" }, "text": { "headline": "L'Epopea del Piave - Primo e secondo episodio", "text": "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)." } },{ "media": { "url": "", "caption": "L'Epopea del Piave - Terzo e quarto episodio", "link": "/items/demo_1258.html" }, "start_date": { "year": "1922" }, "text": { "headline": "L'Epopea del Piave - Terzo e quarto episodio", "text": "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)." } },{ "media": { "url": "", "caption": "Canti di Trincea - Parte I: Sul capello; Il testamento del Capitano; Dove sei stato moi bell’alpino; Quel mazzolin di fiori", "link": "/items/demo_1259.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Canti di Trincea - Parte I: Sul capello; Il testamento del Capitano; Dove sei stato moi bell’alpino; Quel mazzolin di fiori", "text": "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)." } },{ "media": { "url": "", "caption": "Canti di Trincea - Parte II: Sul ponte di Bassano; il 29 giugno; Dio del cielo; Le stellette che noi portiamo", "link": "/items/demo_1260.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Canti di Trincea - Parte II: Sul ponte di Bassano; il 29 giugno; Dio del cielo; Le stellette che noi portiamo", "text": "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)." } },{ "media": { "url": "", "caption": "Canti di Trincea - Parte III: Monte Nero; Di là dal Piave; La Rosina bella", "link": "/items/demo_1261.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canti di Trincea - Parte III: Monte Nero; Di là dal Piave; La Rosina bella", "text": "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)." } },{ "media": { "url": "", "caption": "Canti di Trincea - Parte IV: Come porti i capelli; Ufficiale di picchetto; O macchinista; Era bella come gli Orienti ", "link": "/items/demo_1262.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canti di Trincea - Parte IV: Come porti i capelli; Ufficiale di picchetto; O macchinista; Era bella come gli Orienti ", "text": "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)." } },{ "media": { "url": "", "caption": "Daghela avanti un passo", "link": "/items/demo_1263.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Daghela avanti un passo", "text": "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)." } },{ "media": { "url": "", "caption": "Canto del Fronte (Ta-Pum)", "link": "/items/demo_1264.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canto del Fronte (Ta-Pum)", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1265.html" }, "start_date": { "year": "1922" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_1266.html" }, "start_date": { "year": "1922" }, "text": { "headline": "La leggenda del Piave" } },{ "media": { "url": "", "caption": "Canzone dell'Africa", "link": "/items/demo_1267.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Canzone dell'Africa", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Teste di moro (andremo in Africa)", "link": "/items/demo_1268.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Teste di moro (andremo in Africa)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1269.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Ti saluto !… (…vado in Abissinia)", "link": "/items/demo_1270.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Ti saluto !… (…vado in Abissinia)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Marcia reale", "link": "/items/demo_1271.html" }, "start_date": { "year": "1931" }, "text": { "headline": "Marcia reale", "text": "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." } },{ "media": { "url": "", "caption": "Brabançonne (inno belga)", "link": "/items/demo_1272.html" }, "start_date": { "year": "1931" }, "text": { "headline": "Brabançonne (inno belga)", "text": "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." } },{ "media": { "url": "", "caption": "Cara mamma", "link": "/items/demo_1273.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Cara mamma" } },{ "media": { "url": "", "caption": "Amore, amore", "link": "/items/demo_1274.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Amore, amore" } },{ "media": { "url": "", "caption": "Va fuori d'Italia… (O prodotto stranier)", "link": "/items/demo_1275.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Va fuori d'Italia… (O prodotto stranier)", "text": "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. " } },{ "media": { "url": "", "caption": "Accampamento ad amba alagi", "link": "/items/demo_1276.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Accampamento ad amba alagi", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "In barba alle sanzioni", "link": "/items/demo_1277.html" }, "start_date": { "year": "1936" }, "text": { "headline": "In barba alle sanzioni", "text": "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. " } },{ "media": { "url": "", "caption": "Sul mercato di Macallè", "link": "/items/demo_1278.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sul mercato di Macallè", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Marcia Reale", "link": "/items/demo_1279.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Marcia Reale", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1280.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_1281.html" }, "start_date": { "year": "1933" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "La ritirata ", "link": "/items/demo_1282.html" }, "start_date": { "year": "1933" }, "text": { "headline": "La ritirata ", "text": "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\")." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1283.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_1284.html" }, "start_date": { "year": "1933" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Principe di Piemonte", "link": "/items/demo_1285.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Principe di Piemonte" } },{ "media": { "url": "", "caption": "La ritirata", "link": "/items/demo_1286.html" }, "start_date": { "year": "1933" }, "text": { "headline": "La ritirata", "text": "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\")." } },{ "media": { "url": "", "caption": "Oro… Oro… Oro", "link": "/items/demo_1287.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Oro… Oro… Oro", "text": "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)." } },{ "media": { "url": "", "caption": "Palude", "link": "/items/demo_1288.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Palude", "text": "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)." } },{ "media": { "url": "", "caption": "Oro… Oro… Oro", "link": "/items/demo_1289.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Oro… Oro… Oro", "text": "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)." } },{ "media": { "url": "", "caption": "Palude", "link": "/items/demo_1290.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Palude", "text": "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)." } },{ "media": { "url": "", "caption": "Bimbe d'Italia", "link": "/items/demo_1291.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Bimbe d'Italia", "text": "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)." } },{ "media": { "url": "", "caption": "Giovani Fascisti (Inno Ufficiale)", "link": "/items/demo_1292.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Giovani Fascisti (Inno Ufficiale)", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "Canti di Trincea - Parte I: Dove sei stato moi bell’alpino; Sul capello,sul capello; O Dio del cielo", "link": "/items/demo_1293.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Canti di Trincea - Parte I: Dove sei stato moi bell’alpino; Sul capello,sul capello; O Dio del cielo", "text": "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)." } },{ "media": { "url": "", "caption": "Canti di Trincea - Parte II: Sul ponte di Bassano; Quel mazzolin di fiori; Il fucile che portiamo", "link": "/items/demo_1294.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Canti di Trincea - Parte II: Sul ponte di Bassano; Quel mazzolin di fiori; Il fucile che portiamo", "text": "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)." } },{ "media": { "url": "", "caption": "Canti di Trincea: Sul capello che noi portiamo; Dove sei stato moi bell'alpino; O Dio del cielo", "link": "/items/demo_1295.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Canti di Trincea: Sul capello che noi portiamo; Dove sei stato moi bell'alpino; O Dio del cielo", "text": "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)." } },{ "media": { "url": "", "caption": "Canti di Trincea: Sul ponte di Bassano; Quel mazzolin di fiori; Il fucile che portiamo", "link": "/items/demo_1296.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Canti di Trincea: Sul ponte di Bassano; Quel mazzolin di fiori; Il fucile che portiamo", "text": "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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_1297.html" }, "start_date": { "year": "1933" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "La canzone del Grappa ", "link": "/items/demo_1298.html" }, "start_date": { "year": "1933" }, "text": { "headline": "La canzone del Grappa ", "text": "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)." } },{ "media": { "url": "", "caption": "Marcia reale italiana", "link": "/items/demo_1299.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Marcia reale italiana", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1300.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Canti di Soldati : Parte I: A rapporto signor Capitano; O Dio del cielo (se fossi una rondinella); Quel nazzolin di fiori… ", "link": "/items/demo_1301.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Canti di Soldati : Parte I: A rapporto signor Capitano; O Dio del cielo (se fossi una rondinella); Quel nazzolin di fiori… ", "text": "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)." } },{ "media": { "url": "", "caption": "Canti di Soildati, Parte II: Sul capello che noi portiamo; Dove sei stato moi bell'alpino; Ed il fucile che noi portiamo", "link": "/items/demo_1302.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Canti di Soildati, Parte II: Sul capello che noi portiamo; Dove sei stato moi bell'alpino; Ed il fucile che noi portiamo", "text": "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)." } },{ "media": { "url": "", "caption": "Balilla ! (Inno ufficiale dei fanciulli fascisti)", "link": "/items/demo_1303.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Balilla ! (Inno ufficiale dei fanciulli fascisti)", "text": "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)." } },{ "media": { "url": "", "caption": "Vattene bella, vattene a dormire", "link": "/items/demo_1304.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Vattene bella, vattene a dormire" } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1305.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_1306.html" }, "start_date": { "year": "1933" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Balilla", "link": "/items/demo_1307.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Balilla", "text": "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)." } },{ "media": { "url": "", "caption": "Soldatini, siam piccini", "link": "/items/demo_1308.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Soldatini, siam piccini" } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_1309.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1310.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Balilla ! (Inno ufficiale dei Balilla)", "link": "/items/demo_1311.html" }, "start_date": { "year": "1933" }, "text": { "headline": "Balilla ! (Inno ufficiale dei Balilla)", "text": "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)." } },{ "media": { "url": "", "caption": "La fanfara dei Bersaglieri", "link": "/items/demo_1312.html" }, "start_date": { "year": "1933" }, "text": { "headline": "La fanfara dei Bersaglieri" } },{ "media": { "url": "", "caption": "La Romagna (Inno al Duce)", "link": "/items/demo_1313.html" }, "start_date": { "year": "1934" }, "text": { "headline": "La Romagna (Inno al Duce)", "text": "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)." } },{ "media": { "url": "", "caption": "La nostra orchestra", "link": "/items/demo_1314.html" }, "start_date": { "year": "1934" }, "text": { "headline": "La nostra orchestra" } },{ "media": { "url": "", "caption": "La leggenda del Carabiniere", "link": "/items/demo_1315.html" }, "start_date": { "year": "1934" }, "text": { "headline": "La leggenda del Carabiniere", "text": "Singer Gino Pastori is alleged to be 12 at the time of this recording." } },{ "media": { "url": "", "caption": "Freccia d'oro", "link": "/items/demo_1316.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Freccia d'oro", "text": "Singer Gino Pastori is alleged to be 12 at the time of this recording." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1317.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Balilla (Inno dei fanciulli fascisti)", "link": "/items/demo_1318.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Balilla (Inno dei fanciulli fascisti)", "text": "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)." } },{ "media": { "url": "", "caption": "Pasione Italica (Marcia militare)", "link": "/items/demo_1319.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Pasione Italica (Marcia militare)" } },{ "media": { "url": "", "caption": "Soldato Italiano, Soldato Eroico", "link": "/items/demo_1320.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Soldato Italiano, Soldato Eroico" } },{ "media": { "url": "", "caption": "Dani", "link": "/items/demo_1321.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Dani" } },{ "media": { "url": "", "caption": "Nell'Africa si va", "link": "/items/demo_1322.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Nell'Africa si va", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Facetta nera (La Canzione della Divsione \"Tevere\")", "link": "/items/demo_1323.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Facetta nera (La Canzione della Divsione \"Tevere\")", "text": "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). " } },{ "media": { "url": "", "caption": "Pellegrino che venghi a Roma", "link": "/items/demo_1324.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Pellegrino che venghi a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1325.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Angelamaria ", "link": "/items/demo_1326.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Angelamaria " } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1327.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Ti saluto !… (…vado in Abissinia) ", "link": "/items/demo_1328.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Ti saluto !… (…vado in Abissinia) ", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Africanella", "link": "/items/demo_1329.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Africanella" } },{ "media": { "url": "", "caption": "La canzone dell'Africa", "link": "/items/demo_1330.html" }, "start_date": { "year": "1935" }, "text": { "headline": "La canzone dell'Africa", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Africanella", "link": "/items/demo_1331.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Africanella" } },{ "media": { "url": "", "caption": "Camicia Garibaldina", "link": "/items/demo_1332.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Camicia Garibaldina" } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1333.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera" } },{ "media": { "url": "", "caption": "Africanella ", "link": "/items/demo_1334.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Africanella " } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1335.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera" } },{ "media": { "url": "", "caption": "Per te sarò tenente", "link": "/items/demo_1336.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Per te sarò tenente", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)" } },{ "media": { "url": "", "caption": "Chi era Balilla", "link": "/items/demo_1337.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Chi era Balilla", "text": "This song is from the show \"Balilla per il mondo\"" } },{ "media": { "url": "", "caption": "I ragazzi di una volta", "link": "/items/demo_1338.html" }, "start_date": { "year": "1935" }, "text": { "headline": "I ragazzi di una volta", "text": "This song is from the show \"Balilla per il mondo\"" } },{ "media": { "url": "", "caption": "Il bottone del legionario", "link": "/items/demo_1339.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Il bottone del legionario", "text": "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." } },{ "media": { "url": "", "caption": "L'assemblea dei piedi nudi", "link": "/items/demo_1340.html" }, "start_date": { "year": "1935" }, "text": { "headline": "L'assemblea dei piedi nudi", "text": "(scena comica)" } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1341.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Addio Rosina bella", "link": "/items/demo_1342.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Addio Rosina bella", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)" } },{ "media": { "url": "", "caption": "Addio Rosina bella", "link": "/items/demo_1343.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Addio Rosina bella", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)" } },{ "media": { "url": "", "caption": "Nonna-nonna all'amore", "link": "/items/demo_1344.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Nonna-nonna all'amore" } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_1345.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Macallè", "link": "/items/demo_1346.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Macallè", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Ti saluto, vado in Africa", "link": "/items/demo_1347.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Ti saluto, vado in Africa", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Avanti sempre", "link": "/items/demo_1348.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Avanti sempre", "text": "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. " } },{ "media": { "url": "", "caption": "Piscatore Napulitano", "link": "/items/demo_1349.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Piscatore Napulitano" } },{ "media": { "url": "", "caption": "Addio Rosina bella", "link": "/items/demo_1350.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Addio Rosina bella", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)" } },{ "media": { "url": "", "caption": "Il minatore", "link": "/items/demo_1351.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Il minatore", "text": "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. " } },{ "media": { "url": "", "caption": "Ti manderò una cartolina", "link": "/items/demo_1352.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Ti manderò una cartolina", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Amici !?", "link": "/items/demo_1353.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Amici !?", "text": "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. " } },{ "media": { "url": "", "caption": "Avanti sempre", "link": "/items/demo_1354.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Avanti sempre", "text": "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. " } },{ "media": { "url": "", "caption": "Rataplan delle camicie nere", "link": "/items/demo_1355.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Rataplan delle camicie nere", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Chissà il negus che cosa dirà", "link": "/items/demo_1356.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Chissà il negus che cosa dirà", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Noi tireremo diritto", "link": "/items/demo_1357.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Noi tireremo diritto", "text": "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. " } },{ "media": { "url": "", "caption": "Non piangere biondina", "link": "/items/demo_1358.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Non piangere biondina" } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_1359.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Amici !?", "link": "/items/demo_1360.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Amici !?", "text": "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. " } },{ "media": { "url": "", "caption": "Coro dei volontari", "link": "/items/demo_1361.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Coro dei volontari", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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 \"." } },{ "media": { "url": "", "caption": "Vieni a Macallè", "link": "/items/demo_1362.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Vieni a Macallè", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Serenata a Sellassiè", "link": "/items/demo_1363.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Serenata a Sellassiè", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Nonna-nonna all'amore", "link": "/items/demo_1364.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Nonna-nonna all'amore" } },{ "media": { "url": "", "caption": "Canzone azzura", "link": "/items/demo_1365.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canzone azzura", "text": "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]" } },{ "media": { "url": "", "caption": "Ki Ki Bu", "link": "/items/demo_1366.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ki Ki Bu" } },{ "media": { "url": "", "caption": "Marcetta nera", "link": "/items/demo_1367.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Marcetta nera", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "La canzone delle sanzioni", "link": "/items/demo_1368.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La canzone delle sanzioni", "text": "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. " } },{ "media": { "url": "", "caption": "Etiopia nostra", "link": "/items/demo_1369.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Etiopia nostra", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1370.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Canzone azzura", "link": "/items/demo_1371.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canzone azzura", "text": "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]" } },{ "media": { "url": "", "caption": "Africanella", "link": "/items/demo_1372.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Africanella", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1373.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Canto dei volontari", "link": "/items/demo_1374.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canto dei volontari", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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 \"." } },{ "media": { "url": "", "caption": "E' finito il bel tempo che fu", "link": "/items/demo_1375.html" }, "start_date": { "year": "1936" }, "text": { "headline": "E' finito il bel tempo che fu", "text": "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. " } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_1376.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Sotto le stelle del Tigrai", "link": "/items/demo_1377.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sotto le stelle del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "O rondinella, camicina nera", "link": "/items/demo_1378.html" }, "start_date": { "year": "1936" }, "text": { "headline": "O rondinella, camicina nera", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Er sor capanna in Abissinia", "link": "/items/demo_1379.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Er sor capanna in Abissinia" } },{ "media": { "url": "", "caption": "Povero Negus", "link": "/items/demo_1380.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Povero Negus" } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_1381.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Fiore del Tigrai", "link": "/items/demo_1382.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Fiore del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Va fuori d'Italia… (O prodotto stranier)", "link": "/items/demo_1383.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Va fuori d'Italia… (O prodotto stranier)", "text": "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. " } },{ "media": { "url": "", "caption": "Sanzionami questo", "link": "/items/demo_1384.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sanzionami questo", "text": "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. " } },{ "media": { "url": "", "caption": "Va fuori d'Italia… (O prodotto stranier) ", "link": "/items/demo_1385.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Va fuori d'Italia… (O prodotto stranier) " } },{ "media": { "url": "", "caption": "Tevere (inno ufficiale della Divisione Tevere)", "link": "/items/demo_1386.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Tevere (inno ufficiale della Divisione Tevere)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "La madonnina degli aviatori", "link": "/items/demo_1387.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La madonnina degli aviatori", "text": "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]" } },{ "media": { "url": "", "caption": "I Bersaglieri Neri - \"La Canzone dei Dubat\"", "link": "/items/demo_1388.html" }, "start_date": { "year": "1936" }, "text": { "headline": "I Bersaglieri Neri - \"La Canzone dei Dubat\"" } },{ "media": { "url": "", "caption": "Amba Alagi", "link": "/items/demo_1389.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Amba Alagi", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Indietro non si torna", "link": "/items/demo_1390.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Indietro non si torna", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). " } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_1391.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Ci rivedremo… (A Addis Abeba..!)", "link": "/items/demo_1392.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ci rivedremo… (A Addis Abeba..!)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_1393.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). " } },{ "media": { "url": "", "caption": "Indietro non si torna", "link": "/items/demo_1394.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Indietro non si torna", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). " } },{ "media": { "url": "", "caption": "Ti manderò una cartolina", "link": "/items/demo_1395.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ti manderò una cartolina", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Il minatore", "link": "/items/demo_1396.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Il minatore", "text": "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. " } },{ "media": { "url": "", "caption": "Amba Alagi", "link": "/items/demo_1397.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Amba Alagi", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Italia in piedi", "link": "/items/demo_1398.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Italia in piedi" } },{ "media": { "url": "", "caption": "Sotto le stelle del Tigrai", "link": "/items/demo_1399.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sotto le stelle del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Morettina", "link": "/items/demo_1400.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Morettina", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Africanella (1894)", "link": "/items/demo_1401.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Africanella (1894)" } },{ "media": { "url": "", "caption": "Oro !", "link": "/items/demo_1402.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Oro !" } },{ "media": { "url": "", "caption": "Cioccolattino", "link": "/items/demo_1403.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Cioccolattino", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Amba Alagi ", "link": "/items/demo_1404.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Amba Alagi ", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Aspettiamo domani", "link": "/items/demo_1405.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Aspettiamo domani" } },{ "media": { "url": "", "caption": "La canzone del volontario", "link": "/items/demo_1406.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La canzone del volontario", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Sul lago Tana", "link": "/items/demo_1407.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sul lago Tana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Ci rivedremo… (A Addis Abeba..!)", "link": "/items/demo_1408.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ci rivedremo… (A Addis Abeba..!)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "L'Italia ha vinto", "link": "/items/demo_1409.html" }, "start_date": { "year": "1936" }, "text": { "headline": "L'Italia ha vinto", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "E canta l'ascaro ! \"quel dolce ritornel\"", "link": "/items/demo_1410.html" }, "start_date": { "year": "1936" }, "text": { "headline": "E canta l'ascaro ! \"quel dolce ritornel\"", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "La canzone d'Addis Abeba", "link": "/items/demo_1411.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La canzone d'Addis Abeba", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Sul lago Tana", "link": "/items/demo_1412.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sul lago Tana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Ci rivedremo… (A Addis Abeba..!)", "link": "/items/demo_1413.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ci rivedremo… (A Addis Abeba..!)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Inno a Macallé", "link": "/items/demo_1414.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno a Macallé", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Stornelli antisanzionisti - Parte I", "link": "/items/demo_1415.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Stornelli antisanzionisti - Parte I", "text": "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. " } },{ "media": { "url": "", "caption": "Stornelli antisanzionisti - Parte II", "link": "/items/demo_1416.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Stornelli antisanzionisti - Parte II", "text": "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. " } },{ "media": { "url": "", "caption": "Quell'uom dal fiero aspetto", "link": "/items/demo_1417.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Quell'uom dal fiero aspetto" } },{ "media": { "url": "", "caption": "Le sanzioni che effeto ti fanno ?", "link": "/items/demo_1418.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Le sanzioni che effeto ti fanno ?", "text": "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. " } },{ "media": { "url": "", "caption": "Radio Addis Abeba - Parte I", "link": "/items/demo_1419.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Radio Addis Abeba - Parte I", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Radio Addis Abeba - Parte II", "link": "/items/demo_1420.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Radio Addis Abeba - Parte II", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Strofette negussiane", "link": "/items/demo_1421.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Strofette negussiane", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Davanti al Pretor", "link": "/items/demo_1422.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Davanti al Pretor" } },{ "media": { "url": "", "caption": "La fanculla di Macallè", "link": "/items/demo_1423.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La fanculla di Macallè", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Trieste mia", "link": "/items/demo_1424.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Trieste mia" } },{ "media": { "url": "", "caption": "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", "link": "/items/demo_1425.html" }, "start_date": { "year": "1936" }, "text": { "headline": "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", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Pot-pourri’ di canzoni A.O. porte II : Carovane del Tigrai; Adua; In Africa si va; Rondinella, camicia nera; Africa nostra; Faccetta nera", "link": "/items/demo_1426.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Pot-pourri’ di canzoni A.O. porte II : Carovane del Tigrai; Adua; In Africa si va; Rondinella, camicia nera; Africa nostra; Faccetta nera", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Tarantella Imperiale", "link": "/items/demo_1427.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Tarantella Imperiale", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Cos'è questo, cos'è quello (canti del momento)", "link": "/items/demo_1428.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Cos'è questo, cos'è quello (canti del momento)", "text": "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. " } },{ "media": { "url": "", "caption": "Madonnina bionda", "link": "/items/demo_1429.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Madonnina bionda" } },{ "media": { "url": "", "caption": "Canzone azzura", "link": "/items/demo_1430.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canzone azzura", "text": "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]" } },{ "media": { "url": "", "caption": "Sul lago Tana", "link": "/items/demo_1431.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sul lago Tana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Per una volta", "link": "/items/demo_1432.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Per una volta" } },{ "media": { "url": "", "caption": "Accampamento di Dubat (pezzo caratteristico)", "link": "/items/demo_1433.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Accampamento di Dubat (pezzo caratteristico)", "text": "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. " } },{ "media": { "url": "", "caption": "Canti d'Africa (le tappe gloriose da Adua ad Amba Alagi)", "link": "/items/demo_1434.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canti d'Africa (le tappe gloriose da Adua ad Amba Alagi)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "La marcia delle legioni", "link": "/items/demo_1435.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La marcia delle legioni", "text": "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." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_1436.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "La marcia delle legioni (inno imperiale) ", "link": "/items/demo_1437.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La marcia delle legioni (inno imperiale) ", "text": "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." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_1438.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Te chiami Italia", "link": "/items/demo_1439.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Te chiami Italia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Rondinella messaggera", "link": "/items/demo_1440.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Rondinella messaggera" } },{ "media": { "url": "", "caption": "Vittoria !", "link": "/items/demo_1441.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Vittoria !", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Non pianger bella", "link": "/items/demo_1442.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Non pianger bella" } },{ "media": { "url": "", "caption": "C'era una volta il Negus", "link": "/items/demo_1443.html" }, "start_date": { "year": "1936" }, "text": { "headline": "C'era una volta il Negus", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Soldato del lavoro", "link": "/items/demo_1444.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Soldato del lavoro", "text": "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. " } },{ "media": { "url": "", "caption": "Ritorna amore", "link": "/items/demo_1445.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ritorna amore" } },{ "media": { "url": "", "caption": "Sordato del lavoro", "link": "/items/demo_1446.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sordato del lavoro", "text": "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. " } },{ "media": { "url": "", "caption": "Te chiami Italia !", "link": "/items/demo_1447.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Te chiami Italia !", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025). " } },{ "media": { "url": "", "caption": "Vola… Vola… core di mamma", "link": "/items/demo_1448.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Vola… Vola… core di mamma" } },{ "media": { "url": "", "caption": "Sul lago Tana ", "link": "/items/demo_1449.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sul lago Tana ", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Amba Alagi", "link": "/items/demo_1450.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Amba Alagi", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Si fa quel che si può", "link": "/items/demo_1451.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Si fa quel che si può" } },{ "media": { "url": "", "caption": "Sul lago Tana", "link": "/items/demo_1452.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sul lago Tana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Abbiamo qualcosa", "link": "/items/demo_1453.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Abbiamo qualcosa", "text": "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. " } },{ "media": { "url": "", "caption": "Me ne imPippo", "link": "/items/demo_1454.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Me ne imPippo" } },{ "media": { "url": "", "caption": "Pizzicanno (strofette)", "link": "/items/demo_1455.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Pizzicanno (strofette)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Cara Nannina (Letterina coloniale)", "link": "/items/demo_1456.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Cara Nannina (Letterina coloniale)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Oilì, Ooila (tarantella abissina)", "link": "/items/demo_1457.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Oilì, Ooila (tarantella abissina)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Spagnolesca", "link": "/items/demo_1458.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Spagnolesca" } },{ "media": { "url": "", "caption": "Giramela pé quelli ", "link": "/items/demo_1459.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Giramela pé quelli ", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Stornellata coloniale (stornelli romani)", "link": "/items/demo_1460.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Stornellata coloniale (stornelli romani)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Sul lago Tana", "link": "/items/demo_1461.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sul lago Tana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Ah, Willi !", "link": "/items/demo_1462.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ah, Willi !" } },{ "media": { "url": "", "caption": "I canti degli Alpini : Oh Dio del cielo; Sul cappello; Dove sei stato", "link": "/items/demo_1463.html" }, "start_date": { "year": "1936" }, "text": { "headline": "I canti degli Alpini : Oh Dio del cielo; Sul cappello; Dove sei stato", "text": "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)." } },{ "media": { "url": "", "caption": "Canto del Fronte (Ta-Pum)", "link": "/items/demo_1464.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canto del Fronte (Ta-Pum)", "text": "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)." } },{ "media": { "url": "", "caption": "Napoli allegra !", "link": "/items/demo_1465.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Napoli allegra !" } },{ "media": { "url": "", "caption": "Ritorna il legionario", "link": "/items/demo_1466.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ritorna il legionario", "text": "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." } },{ "media": { "url": "", "caption": "Sul lago Tana", "link": "/items/demo_1467.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sul lago Tana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Bella bimba d'oltremare", "link": "/items/demo_1468.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Bella bimba d'oltremare" } },{ "media": { "url": "", "caption": "Sul lago Tana", "link": "/items/demo_1469.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sul lago Tana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Colombina", "link": "/items/demo_1470.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Colombina" } },{ "media": { "url": "", "caption": "Din, Don, Dèlla (La Leggenda del Negus)", "link": "/items/demo_1471.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Din, Don, Dèlla (La Leggenda del Negus)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "La canzone di tutti gli addii", "link": "/items/demo_1472.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La canzone di tutti gli addii" } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1473.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Ritorna il legionario", "link": "/items/demo_1474.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ritorna il legionario", "text": "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." } },{ "media": { "url": "", "caption": "Ritorna il legionario", "link": "/items/demo_1475.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ritorna il legionario", "text": "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." } },{ "media": { "url": "", "caption": "La canzone dell’Impero (L’Italia in marcia)", "link": "/items/demo_1476.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La canzone dell’Impero (L’Italia in marcia)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Sul lago Tana", "link": "/items/demo_1477.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sul lago Tana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "La carovane del Tigraï", "link": "/items/demo_1478.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La carovane del Tigraï", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Canzone allineata (Mottetti di attualità)", "link": "/items/demo_1479.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canzone allineata (Mottetti di attualità)" } },{ "media": { "url": "", "caption": "Donne e mariti (tiritera… internazionale)", "link": "/items/demo_1480.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Donne e mariti (tiritera… internazionale)" } },{ "media": { "url": "", "caption": "Ritorna il legionario", "link": "/items/demo_1481.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ritorna il legionario", "text": "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." } },{ "media": { "url": "", "caption": "Inno imperiale (Marcia delle legioni)", "link": "/items/demo_1482.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Inno imperiale (Marcia delle legioni)", "text": "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." } },{ "media": { "url": "", "caption": "Addis Abeba : Nuovo Fiore", "link": "/items/demo_1483.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Addis Abeba : Nuovo Fiore", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Attacca Maestro", "link": "/items/demo_1484.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Attacca Maestro" } },{ "media": { "url": "", "caption": "Cantate di legionari ", "link": "/items/demo_1485.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Cantate di legionari ", "text": "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." } },{ "media": { "url": "", "caption": "Ritorna il legionario", "link": "/items/demo_1486.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ritorna il legionario", "text": "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." } },{ "media": { "url": "", "caption": "Un giorno ti dirò ", "link": "/items/demo_1487.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Un giorno ti dirò " } },{ "media": { "url": "", "caption": "Sul lago Tana", "link": "/items/demo_1488.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Sul lago Tana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Canti di Soldati - Parte I : A rapporto signor Capitano; O Dio del cielo (se fossi una rondinella); Quel mazzolin di fiori… ", "link": "/items/demo_1489.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Canti di Soldati - Parte I : A rapporto signor Capitano; O Dio del cielo (se fossi una rondinella); Quel mazzolin di fiori… ", "text": "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)." } },{ "media": { "url": "", "caption": "Canti di Soldati - Parte II : Sul capello che noi portiamo; Dove sei stato moi bell'alpino; Ed il fucile che noin portiamo", "link": "/items/demo_1490.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Canti di Soldati - Parte II : Sul capello che noi portiamo; Dove sei stato moi bell'alpino; Ed il fucile che noin portiamo", "text": "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)." } },{ "media": { "url": "", "caption": "Cantate di legionari ", "link": "/items/demo_1491.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Cantate di legionari ", "text": "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." } },{ "media": { "url": "", "caption": "Te chiami Italia", "link": "/items/demo_1492.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Te chiami Italia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Ritorna il legionario", "link": "/items/demo_1493.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ritorna il legionario", "text": "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." } },{ "media": { "url": "", "caption": "Cantate di legionari", "link": "/items/demo_1494.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Cantate di legionari", "text": "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." } },{ "media": { "url": "", "caption": "Frecce nere", "link": "/items/demo_1495.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Frecce nere", "text": "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." } },{ "media": { "url": "", "caption": "Baciami (come sai baciare tu !)", "link": "/items/demo_1496.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Baciami (come sai baciare tu !)" } },{ "media": { "url": "", "caption": "La canzone di Maria Uva", "link": "/items/demo_1497.html" }, "start_date": { "year": "1937" }, "text": { "headline": "La canzone di Maria Uva", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Viola", "link": "/items/demo_1498.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Viola" } },{ "media": { "url": "", "caption": "Cantate di legionari ", "link": "/items/demo_1499.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Cantate di legionari ", "text": "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." } },{ "media": { "url": "", "caption": "Etiopia", "link": "/items/demo_1500.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Etiopia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Balde Frecce Nere !", "link": "/items/demo_1501.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Balde Frecce Nere !", "text": "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." } },{ "media": { "url": "", "caption": "Avanti, Falangisti !", "link": "/items/demo_1502.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Avanti, Falangisti !", "text": "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." } },{ "media": { "url": "", "caption": "Canzone dei \"Sorci Verdi\"", "link": "/items/demo_1503.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Canzone dei \"Sorci Verdi\"", "text": "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." } },{ "media": { "url": "", "caption": "I \"Sorci Verdi\"", "link": "/items/demo_1504.html" }, "start_date": { "year": "1938" }, "text": { "headline": "I \"Sorci Verdi\"", "text": "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." } },{ "media": { "url": "", "caption": "Canzone dei \"Sorci Verdi\"", "link": "/items/demo_1505.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Canzone dei \"Sorci Verdi\"", "text": "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." } },{ "media": { "url": "", "caption": "Forse solo tu", "link": "/items/demo_1506.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Forse solo tu", "text": "This song is from the movie \"Chi è più felice di me ?\"" } },{ "media": { "url": "", "caption": "Canzone dei \"Sorci Verdi\"", "link": "/items/demo_1507.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Canzone dei \"Sorci Verdi\"", "text": "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." } },{ "media": { "url": "", "caption": "L'ho sentito (dalla nonna)", "link": "/items/demo_1508.html" }, "start_date": { "year": "1938" }, "text": { "headline": "L'ho sentito (dalla nonna)" } },{ "media": { "url": "", "caption": "Canta che ti passa (fox. Film \"L'allegro cantante\")", "link": "/items/demo_1509.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Canta che ti passa (fox. Film \"L'allegro cantante\")", "text": "This song is from the movie \"L'allegro cantante\"." } },{ "media": { "url": "", "caption": "La canzone dei \"Sorci Verdi\"", "link": "/items/demo_1510.html" }, "start_date": { "year": "1938" }, "text": { "headline": "La canzone dei \"Sorci Verdi\"", "text": "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." } },{ "media": { "url": "", "caption": "La canzone dei \"Sorci Verdi\"", "link": "/items/demo_1511.html" }, "start_date": { "year": "1938" }, "text": { "headline": "La canzone dei \"Sorci Verdi\"", "text": "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." } },{ "media": { "url": "", "caption": "Piccole gioie", "link": "/items/demo_1512.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Piccole gioie" } },{ "media": { "url": "", "caption": "Canzone dei sorci verdi", "link": "/items/demo_1513.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Canzone dei sorci verdi", "text": "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." } },{ "media": { "url": "", "caption": "Guitarrera", "link": "/items/demo_1514.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Guitarrera" } },{ "media": { "url": "", "caption": "Canzone dei Sorci Verdi", "link": "/items/demo_1515.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Canzone dei Sorci Verdi", "text": "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." } },{ "media": { "url": "", "caption": "Mi piange il cuore", "link": "/items/demo_1516.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Mi piange il cuore" } },{ "media": { "url": "", "caption": "I \"sorci verdi\"", "link": "/items/demo_1517.html" }, "start_date": { "year": "1938" }, "text": { "headline": "I \"sorci verdi\"", "text": "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." } },{ "media": { "url": "", "caption": "La fiera di Porta Genova", "link": "/items/demo_1518.html" }, "start_date": { "year": "1938" }, "text": { "headline": "La fiera di Porta Genova" } },{ "media": { "url": "", "caption": "Inno all'Impero", "link": "/items/demo_1519.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Inno all'Impero" } },{ "media": { "url": "", "caption": "Fanfara dei bersaglieri", "link": "/items/demo_1520.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Fanfara dei bersaglieri" } },{ "media": { "url": "", "caption": "A su Duce Italianu", "link": "/items/demo_1521.html" }, "start_date": { "year": "1939" }, "text": { "headline": "A su Duce Italianu", "text": "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)." } },{ "media": { "url": "", "caption": "Sa ninna nanna de su Campidanu", "link": "/items/demo_1522.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Sa ninna nanna de su Campidanu" } },{ "media": { "url": "", "caption": "Marcia reale; Canto della Massaia", "link": "/items/demo_1523.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Marcia reale; Canto della Massaia", "text": "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." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_1524.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Il canto dei Dopolavoristi", "link": "/items/demo_1525.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Il canto dei Dopolavoristi", "text": "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)." } },{ "media": { "url": "", "caption": "Passa la Gil !", "link": "/items/demo_1526.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Passa la Gil !", "text": "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)." } },{ "media": { "url": "", "caption": "Principe di Napoli", "link": "/items/demo_1527.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Principe di Napoli" } },{ "media": { "url": "", "caption": "I sorci verdi", "link": "/items/demo_1528.html" }, "start_date": { "year": "1939" }, "text": { "headline": "I sorci verdi", "text": "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." } },{ "media": { "url": "", "caption": "Inno dei Giovani fascisti", "link": "/items/demo_1529.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno dei Giovani fascisti", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "Inno degli studenti universitari", "link": "/items/demo_1530.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno degli studenti universitari", "text": "This recording represents fascist university and student organizations." } },{ "media": { "url": "", "caption": "Inno dei Balilla", "link": "/items/demo_1531.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno dei Balilla", "text": "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)." } },{ "media": { "url": "", "caption": "Marcia delle Legioni ", "link": "/items/demo_1532.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Marcia delle Legioni ", "text": "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." } },{ "media": { "url": "", "caption": "Fanfara e marcia Reale", "link": "/items/demo_1533.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Fanfara e marcia Reale", "text": "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." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_1534.html" }, "start_date": { "year": "1939" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Saluto al Duce ! (Inno ufficiale dei Balilla)", "link": "/items/demo_1535.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Saluto al Duce ! (Inno ufficiale dei Balilla)", "text": "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)." } },{ "media": { "url": "", "caption": "Ritornano gli eroi", "link": "/items/demo_1536.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Ritornano gli eroi" } },{ "media": { "url": "", "caption": "Arriba España (inno dei Legionari fascisti in Spagna)", "link": "/items/demo_1537.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Arriba España (inno dei Legionari fascisti in Spagna)", "text": "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." } },{ "media": { "url": "", "caption": "Cara al sol (inno della Phalange Spagnola, I.O.N.S.)", "link": "/items/demo_1538.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Cara al sol (inno della Phalange Spagnola, I.O.N.S.)", "text": "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." } },{ "media": { "url": "", "caption": "Arriba España", "link": "/items/demo_1539.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Arriba España", "text": "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." } },{ "media": { "url": "", "caption": "Inno imperiale", "link": "/items/demo_1540.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno imperiale", "text": "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." } },{ "media": { "url": "", "caption": "O medico delle anime, curami col tuo balsamo Parte I - melodia \"El Hussein\"", "link": "/items/demo_1541.html" }, "start_date": { "year": "1939" }, "text": { "headline": "O medico delle anime, curami col tuo balsamo Parte I - melodia \"El Hussein\"" } },{ "media": { "url": "", "caption": "O medico delle anime, curami col tuo balsamo Parte II - melodia \"El Hussein\"", "link": "/items/demo_1542.html" }, "start_date": { "year": "1939" }, "text": { "headline": "O medico delle anime, curami col tuo balsamo Parte II - melodia \"El Hussein\"" } },{ "media": { "url": "", "caption": "I Legionari tornaro", "link": "/items/demo_1543.html" }, "start_date": { "year": "1939" }, "text": { "headline": "I Legionari tornaro", "text": "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." } },{ "media": { "url": "", "caption": "Arriba España (inno dei Legionari fascisti in Spagna)", "link": "/items/demo_1544.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Arriba España (inno dei Legionari fascisti in Spagna)", "text": "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." } },{ "media": { "url": "", "caption": "Marcia Granadiera (inno a Franco)", "link": "/items/demo_1545.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Marcia Granadiera (inno a Franco)", "text": "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." } },{ "media": { "url": "", "caption": "Inno della Phalange Spagnola - I.O.N.S. ", "link": "/items/demo_1546.html" }, "start_date": { "year": "1939" }, "text": { "headline": "Inno della Phalange Spagnola - I.O.N.S. ", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1547.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "La festa del villagio", "link": "/items/demo_1548.html" }, "start_date": { "year": "1940" }, "text": { "headline": "La festa del villagio" } },{ "media": { "url": "", "caption": "Non pianger, no !", "link": "/items/demo_1549.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Non pianger, no !", "text": "This record was published for the Opera nazionale Maternità e Infanzia" } },{ "media": { "url": "", "caption": "Stai vicino a me", "link": "/items/demo_1550.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Stai vicino a me", "text": "This record was published for the Opera nazionale Maternità e Infanzia" } },{ "media": { "url": "", "caption": "Serenata a Sellassiè", "link": "/items/demo_1551.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Serenata a Sellassiè", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "La borsetta di Titinà", "link": "/items/demo_1552.html" }, "start_date": { "year": "1935" }, "text": { "headline": "La borsetta di Titinà" } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1553.html" }, "start_date": { "year": "1923" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Eja ! Eja ! ALALA'", "link": "/items/demo_1554.html" }, "start_date": { "year": "1923" }, "text": { "headline": "Eja ! Eja ! ALALA'" } },{ "media": { "url": "", "caption": "Il discorso di Benito Mussolini a Milano nel primo anniversario della Marcia su Roma", "link": "/items/demo_1555.html" }, "start_date": { "year": "1926 ?" }, "text": { "headline": "Il discorso di Benito Mussolini a Milano nel primo anniversario della Marcia su Roma" } },{ "media": { "url": "", "caption": "All'armi !", "link": "/items/demo_1556.html" }, "start_date": { "year": "1926 ?" }, "text": { "headline": "All'armi !", "text": "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." } },{ "media": { "url": "", "caption": "La ninna nanna dei Balilla", "link": "/items/demo_1557.html" }, "start_date": { "year": "1931" }, "text": { "headline": "La ninna nanna dei Balilla", "text": "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)." } },{ "media": { "url": "", "caption": "Stornelli romani (d'amore)", "link": "/items/demo_1558.html" }, "start_date": { "year": "1931" }, "text": { "headline": "Stornelli romani (d'amore)" } },{ "media": { "url": "", "caption": "Gli eroi della nostra guerra (Sintesi musicale futurista in 2 parti) - Parte I", "link": "/items/demo_1559.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Gli eroi della nostra guerra (Sintesi musicale futurista in 2 parti) - Parte I" } },{ "media": { "url": "", "caption": "Gli eroi della nostra guerra (Sintesi musicale futurista in 2 parti) - Parte II", "link": "/items/demo_1560.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Gli eroi della nostra guerra (Sintesi musicale futurista in 2 parti) - Parte II" } },{ "media": { "url": "", "caption": "Ninna nanna grigioverde", "link": "/items/demo_1561.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Ninna nanna grigioverde", "text": "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 \"." } },{ "media": { "url": "", "caption": "Tenerezza", "link": "/items/demo_1562.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Tenerezza", "text": "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 \"." } },{ "media": { "url": "", "caption": "Rondinella azzura", "link": "/items/demo_1563.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Rondinella azzura", "text": "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)." } },{ "media": { "url": "", "caption": "La madonnina dei soldati", "link": "/items/demo_1564.html" }, "start_date": { "year": "1942" }, "text": { "headline": "La madonnina dei soldati", "text": "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)." } },{ "media": { "url": "", "caption": "La marcia contra l'Inghilterra (Vinceremo, vinceremo)", "link": "/items/demo_1565.html" }, "start_date": { "year": "1942" }, "text": { "headline": "La marcia contra l'Inghilterra (Vinceremo, vinceremo)", "text": "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)." } },{ "media": { "url": "", "caption": "Fante d'Italia", "link": "/items/demo_1566.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Fante d'Italia", "text": "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)." } },{ "media": { "url": "", "caption": "La canzone dell'aviatore", "link": "/items/demo_1567.html" }, "start_date": { "year": "1942" }, "text": { "headline": "La canzone dell'aviatore", "text": "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]" } },{ "media": { "url": "", "caption": "Armi e spighe (dal documentario \"Grano tra due battaglie\")", "link": "/items/demo_1568.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Armi e spighe (dal documentario \"Grano tra due battaglie\")", "text": "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)." } },{ "media": { "url": "", "caption": "Arditi Camerati", "link": "/items/demo_1569.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Arditi Camerati", "text": "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)." } },{ "media": { "url": "", "caption": "Carri armati", "link": "/items/demo_1570.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Carri armati", "text": "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)." } },{ "media": { "url": "", "caption": "Africa Orientale", "link": "/items/demo_1571.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Africa Orientale", "text": "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)." } },{ "media": { "url": "", "caption": "Somalia", "link": "/items/demo_1572.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Somalia", "text": "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)." } },{ "media": { "url": "", "caption": "A noi", "link": "/items/demo_1573.html" }, "start_date": { "year": "1925" }, "text": { "headline": "A noi" } },{ "media": { "url": "", "caption": "Fiamme nere", "link": "/items/demo_1574.html" }, "start_date": { "year": "1925" }, "text": { "headline": "Fiamme nere" } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1575.html" }, "start_date": { "year": "1922" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "All'armi", "link": "/items/demo_1576.html" }, "start_date": { "year": "1922" }, "text": { "headline": "All'armi", "text": "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." } },{ "media": { "url": "", "caption": "Il Condotierro - Inno degli squadristi ", "link": "/items/demo_1577.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Il Condotierro - Inno degli squadristi ", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1578.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1579.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Inno Savoia", "link": "/items/demo_1580.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Inno Savoia", "text": "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)." } },{ "media": { "url": "", "caption": "Saluto al compagno", "link": "/items/demo_1581.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Saluto al compagno", "text": "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)." } },{ "media": { "url": "", "caption": "Sentinella dell'Impero", "link": "/items/demo_1582.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Sentinella dell'Impero", "text": "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)." } },{ "media": { "url": "", "caption": "Senza più parlare (dallo spettacolo Macario : \"Primavera di donne\") ", "link": "/items/demo_1583.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Senza più parlare (dallo spettacolo Macario : \"Primavera di donne\") ", "text": "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)." } },{ "media": { "url": "", "caption": "Dalmatia redenta", "link": "/items/demo_1584.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Dalmatia redenta", "text": "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)." } },{ "media": { "url": "", "caption": "O Malta", "link": "/items/demo_1585.html" }, "start_date": { "year": "1940" }, "text": { "headline": "O Malta", "text": "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)." } },{ "media": { "url": "", "caption": "Corsicanella", "link": "/items/demo_1586.html" }, "start_date": { "year": "1940" }, "text": { "headline": "Corsicanella", "text": "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)." } },{ "media": { "url": "", "caption": "Marcia della Vittoria", "link": "/items/demo_1587.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Marcia della Vittoria", "text": "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)." } },{ "media": { "url": "", "caption": "Marinaio d'Italia", "link": "/items/demo_1588.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Marinaio d'Italia", "text": "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)." } },{ "media": { "url": "", "caption": "Bombe sull’Inghilterra (Bomben auf Engelland)", "link": "/items/demo_1589.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Bombe sull’Inghilterra (Bomben auf Engelland)", "text": "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)." } },{ "media": { "url": "", "caption": "Inno dell'Asse (Achsenlied)", "link": "/items/demo_1590.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Inno dell'Asse (Achsenlied)", "text": "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." } },{ "media": { "url": "", "caption": "La grande ora (canto eroico)", "link": "/items/demo_1591.html" }, "start_date": { "year": "1942" }, "text": { "headline": "La grande ora (canto eroico)", "text": "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)." } },{ "media": { "url": "", "caption": "Battaglioni \"M\"", "link": "/items/demo_1592.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Battaglioni \"M\"", "text": "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)." } },{ "media": { "url": "", "caption": "Inno Giapponese; Inno Albanese", "link": "/items/demo_1593.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Inno Giapponese; Inno Albanese", "text": "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)." } },{ "media": { "url": "", "caption": "Inno Romeno; Inno Ungherese", "link": "/items/demo_1594.html" }, "start_date": { "year": "1942" }, "text": { "headline": "Inno Romeno; Inno Ungherese", "text": "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." } },{ "media": { "url": "", "caption": "Frecce nere", "link": "/items/demo_1595.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Frecce nere" } },{ "media": { "url": "", "caption": "Spagnolita", "link": "/items/demo_1596.html" }, "start_date": { "year": "1938" }, "text": { "headline": "Spagnolita" } },{ "media": { "url": "", "caption": "Topolino Balilla", "link": "/items/demo_1597.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Topolino Balilla" } },{ "media": { "url": "", "caption": "Topolino soldato", "link": "/items/demo_1598.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Topolino soldato" } },{ "media": { "url": "", "caption": "Il giuramento di Balilla", "link": "/items/demo_1599.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Il giuramento di Balilla" } },{ "media": { "url": "", "caption": "Il compleanno del nonno", "link": "/items/demo_1600.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Il compleanno del nonno" } },{ "media": { "url": "", "caption": "Balilla !", "link": "/items/demo_1601.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Balilla !", "text": "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)." } },{ "media": { "url": "", "caption": "All'armi ! A noi, fascisti !", "link": "/items/demo_1602.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "All'armi ! A noi, fascisti !", "text": "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." } },{ "media": { "url": "", "caption": "Balilla", "link": "/items/demo_1603.html" }, "start_date": { "year": "1926 ?" }, "text": { "headline": "Balilla", "text": "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)." } },{ "media": { "url": "", "caption": "Al vessillo tricolore", "link": "/items/demo_1604.html" }, "start_date": { "year": "1926 ?" }, "text": { "headline": "Al vessillo tricolore" } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_1605.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Il mondo gira e se va (stornelli d’attualità)", "link": "/items/demo_1606.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "Il mondo gira e se va (stornelli d’attualità)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "O rondinella, camicina nera", "link": "/items/demo_1607.html" }, "start_date": { "year": "1936" }, "text": { "headline": "O rondinella, camicina nera", "text": "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)." } },{ "media": { "url": "", "caption": "Faccetta bianca (Addio el Bersagliere d’Africa)", "link": "/items/demo_1608.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Faccetta bianca (Addio el Bersagliere d’Africa)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Si dice di no", "link": "/items/demo_1609.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Si dice di no" } },{ "media": { "url": "", "caption": "Littoria", "link": "/items/demo_1610.html" }, "start_date": { "year": "1934" }, "text": { "headline": "Littoria", "text": "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\"." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1611.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Marcia reale", "link": "/items/demo_1612.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "Marcia reale", "text": "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." } },{ "media": { "url": "", "caption": "Addio biondina", "link": "/items/demo_1613.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Addio biondina", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Bambolita", "link": "/items/demo_1614.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Bambolita" } },{ "media": { "url": "", "caption": "Adesso viene il bello : canzonetta di primavera", "link": "/items/demo_1615.html" }, "start_date": { "year": "1940 ?" }, "text": { "headline": "Adesso viene il bello : canzonetta di primavera", "text": "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)." } },{ "media": { "url": "", "caption": "La canzone del fante : un mazzolino di fiori", "link": "/items/demo_1616.html" }, "start_date": { "year": "1940 ?" }, "text": { "headline": "La canzone del fante : un mazzolino di fiori", "text": "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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_1617.html" }, "start_date": { "year": "1933 ?" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Soldato ignoto", "link": "/items/demo_1618.html" }, "start_date": { "year": "1933 ?" }, "text": { "headline": "Soldato ignoto", "text": "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)." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1619.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Canto dei volontari", "link": "/items/demo_1620.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canto dei volontari", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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 \"." } },{ "media": { "url": "", "caption": "Africanella", "link": "/items/demo_1621.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Africanella", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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 \"." } },{ "media": { "url": "", "caption": "Pellegrino che venghi a Roma", "link": "/items/demo_1622.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Pellegrino che venghi a Roma", "text": "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." } },{ "media": { "url": "", "caption": "E' finito il bel tempo che fu", "link": "/items/demo_1623.html" }, "start_date": { "year": "1936" }, "text": { "headline": "E' finito il bel tempo che fu", "text": "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. " } },{ "media": { "url": "", "caption": "Valzer della fisarmonica", "link": "/items/demo_1624.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Valzer della fisarmonica" } },{ "media": { "url": "", "caption": "Amba Alagi", "link": "/items/demo_1625.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Amba Alagi", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_1626.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1627.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Gagliardetti al sole", "link": "/items/demo_1628.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Gagliardetti al sole", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1629.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Rusticanella", "link": "/items/demo_1630.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Rusticanella", "text": "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)." } },{ "media": { "url": "", "caption": "Etiopia nostra", "link": "/items/demo_1631.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Etiopia nostra", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Daghela avanti un passo", "link": "/items/demo_1632.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Daghela avanti un passo" } },{ "media": { "url": "", "caption": "Etiopia", "link": "/items/demo_1633.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Etiopia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "La canzone della vittoria", "link": "/items/demo_1634.html" }, "start_date": { "year": "1937" }, "text": { "headline": "La canzone della vittoria", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Fiore del Tigrai", "link": "/items/demo_1635.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Fiore del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Floretera", "link": "/items/demo_1636.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Floretera" } },{ "media": { "url": "", "caption": "Legionari d’Africa", "link": "/items/demo_1637.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Legionari d’Africa", "text": "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." } },{ "media": { "url": "", "caption": "Partono le squadriglie", "link": "/items/demo_1638.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Partono le squadriglie", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_1639.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Il carme secolare di Orazio (Primo inno del popolo Italiano, A. 17 avanti Cristo", "link": "/items/demo_1640.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "Il carme secolare di Orazio (Primo inno del popolo Italiano, A. 17 avanti Cristo", "text": "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." } },{ "media": { "url": "", "caption": "Marcia delle Legioni (Roma rivendica l’Impero)", "link": "/items/demo_1641.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Marcia delle Legioni (Roma rivendica l’Impero)", "text": "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." } },{ "media": { "url": "", "caption": "Giovani fascisti", "link": "/items/demo_1642.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Giovani fascisti", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "Topolino in Abissinia", "link": "/items/demo_1643.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Topolino in Abissinia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Topolino alla guerra ", "link": "/items/demo_1644.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Topolino alla guerra ", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Sul lago Tana", "link": "/items/demo_1645.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sul lago Tana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Addis Abeba", "link": "/items/demo_1646.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Addis Abeba", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Sul lago Tana", "link": "/items/demo_1647.html" }, "start_date": { "year": "1937 ?" }, "text": { "headline": "Sul lago Tana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "L'Italia ha vinto", "link": "/items/demo_1648.html" }, "start_date": { "year": "1937 ?" }, "text": { "headline": "L'Italia ha vinto", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Sul lago Tana", "link": "/items/demo_1649.html" }, "start_date": { "year": "1937 ?" }, "text": { "headline": "Sul lago Tana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Stornellata tricolore", "link": "/items/demo_1650.html" }, "start_date": { "year": "1937 ?" }, "text": { "headline": "Stornellata tricolore", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_1651.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Dolce è la notte", "link": "/items/demo_1652.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Dolce è la notte", "text": "This song is from the movie \" Il Mago del Jazz \" " } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_1653.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Il mondo gira e se va (stornelli d’attualità)", "link": "/items/demo_1654.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Il mondo gira e se va (stornelli d’attualità)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1655.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Marcia reale", "link": "/items/demo_1656.html" }, "start_date": { "year": "1930" }, "text": { "headline": "Marcia reale", "text": "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. " } },{ "media": { "url": "", "caption": "Marcia dei bersaglieri", "link": "/items/demo_1657.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Marcia dei bersaglieri" } },{ "media": { "url": "", "caption": "Ninon", "link": "/items/demo_1658.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Ninon" } },{ "media": { "url": "", "caption": "Fanfara dei bersaglieri", "link": "/items/demo_1659.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Fanfara dei bersaglieri" } },{ "media": { "url": "", "caption": "Ninna nanna", "link": "/items/demo_1660.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ninna nanna" } },{ "media": { "url": "", "caption": "Fiore del Tigrai", "link": "/items/demo_1661.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Fiore del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Bel moretto", "link": "/items/demo_1662.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Bel moretto", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_1663.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Sulle ali della vittoria", "link": "/items/demo_1664.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sulle ali della vittoria", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Ninna nanna grigioverde", "link": "/items/demo_1665.html" }, "start_date": { "year": "1943" }, "text": { "headline": "Ninna nanna grigioverde", "text": "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 \"." } },{ "media": { "url": "", "caption": "Lili Marlen", "link": "/items/demo_1666.html" }, "start_date": { "year": "1943" }, "text": { "headline": "Lili Marlen", "text": "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." } },{ "media": { "url": "", "caption": "Amba Alagi", "link": "/items/demo_1667.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Amba Alagi", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_1668.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Amba Alagi", "link": "/items/demo_1669.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Amba Alagi", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Serenatella lontana", "link": "/items/demo_1670.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Serenatella lontana" } },{ "media": { "url": "", "caption": "Ninna nanna azzura", "link": "/items/demo_1671.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ninna nanna azzura", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Dopo di me", "link": "/items/demo_1672.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Dopo di me" } },{ "media": { "url": "", "caption": "Canto dei volontari per l’Africa orientale", "link": "/items/demo_1673.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Canto dei volontari per l’Africa orientale", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Inno studenti universitari fascisti", "link": "/items/demo_1674.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno studenti universitari fascisti", "text": "This recording represents fascist university and student organizations." } },{ "media": { "url": "", "caption": "Canto dei volontari", "link": "/items/demo_1675.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canto dei volontari", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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 \"." } },{ "media": { "url": "", "caption": "Morettina", "link": "/items/demo_1676.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Morettina", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Oh ! Littoria", "link": "/items/demo_1677.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "Oh ! Littoria", "text": "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)." } },{ "media": { "url": "", "caption": "La tua bocca", "link": "/items/demo_1678.html" }, "start_date": { "year": "1934 ?" }, "text": { "headline": "La tua bocca", "text": "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)." } },{ "media": { "url": "", "caption": "Sanzionami questo", "link": "/items/demo_1679.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sanzionami questo", "text": "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. " } },{ "media": { "url": "", "caption": "Va fuori d'Italia… (O prodotto stranier)", "link": "/items/demo_1680.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Va fuori d'Italia… (O prodotto stranier)", "text": "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. " } },{ "media": { "url": "", "caption": "Sanzioni", "link": "/items/demo_1681.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sanzioni", "text": "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. " } },{ "media": { "url": "", "caption": "Aspettare", "link": "/items/demo_1682.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Aspettare" } },{ "media": { "url": "", "caption": "Sanzionami questo", "link": "/items/demo_1683.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sanzionami questo", "text": "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. " } },{ "media": { "url": "", "caption": "Va fuori d'Italia… (O prodotto stranier)", "link": "/items/demo_1684.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Va fuori d'Italia… (O prodotto stranier)", "text": "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. " } },{ "media": { "url": "", "caption": "Luce di Roma", "link": "/items/demo_1685.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Luce di Roma", "text": "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." } },{ "media": { "url": "", "caption": "Marcia delle Legioni", "link": "/items/demo_1686.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Marcia delle Legioni", "text": "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." } },{ "media": { "url": "", "caption": "La canzone dell’Africa", "link": "/items/demo_1687.html" }, "start_date": { "year": "1935" }, "text": { "headline": "La canzone dell’Africa", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Una volta era così", "link": "/items/demo_1688.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Una volta era così" } },{ "media": { "url": "", "caption": "L'Italia non s’arresta ", "link": "/items/demo_1689.html" }, "start_date": { "year": "1936" }, "text": { "headline": "L'Italia non s’arresta ", "text": "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." } },{ "media": { "url": "", "caption": "Da Trastevere a Dessie", "link": "/items/demo_1690.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Da Trastevere a Dessie", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Gambette nere", "link": "/items/demo_1691.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Gambette nere", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Stornelli al signor Tafari", "link": "/items/demo_1692.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Stornelli al signor Tafari", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1693.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_1694.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Voce dall’Africa", "link": "/items/demo_1695.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Voce dall’Africa", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Amici", "link": "/items/demo_1696.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Amici", "text": "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. " } },{ "media": { "url": "", "caption": "Guadalajara", "link": "/items/demo_1697.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Guadalajara", "text": "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." } },{ "media": { "url": "", "caption": "Spagnolita", "link": "/items/demo_1698.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Spagnolita", "text": "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." } },{ "media": { "url": "", "caption": "Ritorna il legionario", "link": "/items/demo_1699.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Ritorna il legionario", "text": "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." } },{ "media": { "url": "", "caption": "Cantate di legionari", "link": "/items/demo_1700.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Cantate di legionari", "text": "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." } },{ "media": { "url": "", "caption": "Amba Alagi", "link": "/items/demo_1701.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Amba Alagi", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Amiamoci", "link": "/items/demo_1702.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Amiamoci" } },{ "media": { "url": "", "caption": "Avanti sempre", "link": "/items/demo_1703.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Avanti sempre", "text": "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. " } },{ "media": { "url": "", "caption": "Noi tireremo diritto", "link": "/items/demo_1704.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Noi tireremo diritto", "text": "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. " } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_1705.html" }, "start_date": { "year": "1935" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Soldato ignoto", "link": "/items/demo_1706.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Soldato ignoto", "text": "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)." } },{ "media": { "url": "", "caption": "La bella di Etiopia", "link": "/items/demo_1707.html" }, "start_date": { "year": "1937" }, "text": { "headline": "La bella di Etiopia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Mazurka toscana", "link": "/items/demo_1708.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Mazurka toscana" } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_1709.html" }, "start_date": { "year": "1932 ?" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Soldato ignoto", "link": "/items/demo_1710.html" }, "start_date": { "year": "1932 ?" }, "text": { "headline": "Soldato ignoto", "text": "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)." } },{ "media": { "url": "", "caption": "Adua nostra", "link": "/items/demo_1711.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Adua nostra", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Si va en Abissinia", "link": "/items/demo_1712.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Si va en Abissinia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Terza fantasia Ascari eritrei", "link": "/items/demo_1713.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Terza fantasia Ascari eritrei" } },{ "media": { "url": "", "caption": "Seconda fantasia Ascari eritrei", "link": "/items/demo_1714.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Seconda fantasia Ascari eritrei" } },{ "media": { "url": "", "caption": "Stornellata societaria", "link": "/items/demo_1715.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Stornellata societaria", "text": "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. " } },{ "media": { "url": "", "caption": "Noi tireremo diritto", "link": "/items/demo_1716.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Noi tireremo diritto", "text": "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. " } },{ "media": { "url": "", "caption": "Seconda fantasia Ascari libici", "link": "/items/demo_1717.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Seconda fantasia Ascari libici" } },{ "media": { "url": "", "caption": "Prima fantasia Ascari eritrei", "link": "/items/demo_1718.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Prima fantasia Ascari eritrei" } },{ "media": { "url": "", "caption": "Riti arabi tripolini : Il dauòlgi (nelle noti di Ramadán)", "link": "/items/demo_1719.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Riti arabi tripolini : Il dauòlgi (nelle noti di Ramadán)" } },{ "media": { "url": "", "caption": "La nuba ", "link": "/items/demo_1720.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La nuba " } },{ "media": { "url": "", "caption": "Giovani fascisti", "link": "/items/demo_1721.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Giovani fascisti", "text": "This recording represents the \"Giovani fascisti\", the organization of young men aged 18 to 21." } },{ "media": { "url": "", "caption": "Inno a Roma", "link": "/items/demo_1722.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Inno a Roma", "text": "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." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1723.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "Marcia Reale Italiana", "link": "/items/demo_1724.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Marcia Reale Italiana", "text": "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. " } },{ "media": { "url": "", "caption": "Pattuglia turca", "link": "/items/demo_1725.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Pattuglia turca" } },{ "media": { "url": "", "caption": "Rusticanella", "link": "/items/demo_1726.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Rusticanella", "text": "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)." } },{ "media": { "url": "", "caption": "La canzone d'Addis Abeba", "link": "/items/demo_1727.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La canzone d'Addis Abeba", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Sul lago Tana", "link": "/items/demo_1728.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sul lago Tana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Ti saluto !… (…vado in Abissinia)", "link": "/items/demo_1729.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "Ti saluto !… (…vado in Abissinia)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1730.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "Ti saluto !… (…vado in Abissinia)", "link": "/items/demo_1731.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Ti saluto !… (…vado in Abissinia)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Amba Alagi", "link": "/items/demo_1732.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Amba Alagi", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Africanella", "link": "/items/demo_1733.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Africanella", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Strofette africane", "link": "/items/demo_1734.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Strofette africane", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Chissà il negus che cosa dirà", "link": "/items/demo_1735.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Chissà il negus che cosa dirà", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Serenata a Ginevra", "link": "/items/demo_1736.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Serenata a Ginevra", "text": "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. " } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_1737.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Carovane del Tigrai", "link": "/items/demo_1738.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Carovane del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Scrivimi", "link": "/items/demo_1739.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Scrivimi", "text": "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. " } },{ "media": { "url": "", "caption": "Macallè", "link": "/items/demo_1740.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Macallè", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_1741.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Adua", "link": "/items/demo_1742.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Adua", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Sulle ali della vittoria", "link": "/items/demo_1743.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sulle ali della vittoria", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Africanella", "link": "/items/demo_1744.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Africanella", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Come è bello fa l’amore quando è sera !", "link": "/items/demo_1745.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Come è bello fa l’amore quando è sera !" } },{ "media": { "url": "", "caption": "Africanella", "link": "/items/demo_1746.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "Africanella", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Chissà il negus che cosa dirà", "link": "/items/demo_1747.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "Chissà il negus che cosa dirà", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Stornelli neri", "link": "/items/demo_1748.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Stornelli neri", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Stornellata abissina", "link": "/items/demo_1749.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Stornellata abissina", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Sotto le stelle del Tigrai", "link": "/items/demo_1750.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sotto le stelle del Tigrai", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Stornelli neri", "link": "/items/demo_1751.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Stornelli neri", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Canzone azzura", "link": "/items/demo_1752.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canzone azzura", "text": "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]" } },{ "media": { "url": "", "caption": "Voce dall’Africa", "link": "/items/demo_1753.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Voce dall’Africa", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Faccetta nera", "link": "/items/demo_1754.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Faccetta nera", "text": "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). " } },{ "media": { "url": "", "caption": "La canzone dell’Africa", "link": "/items/demo_1755.html" }, "start_date": { "year": "1935" }, "text": { "headline": "La canzone dell’Africa", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Balilla", "link": "/items/demo_1756.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Balilla", "text": "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)." } },{ "media": { "url": "", "caption": "Bimbe d’Italia", "link": "/items/demo_1757.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Bimbe d’Italia", "text": "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)." } },{ "media": { "url": "", "caption": "Piccole italiane", "link": "/items/demo_1758.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Piccole italiane", "text": "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)." } },{ "media": { "url": "", "caption": "I Balilla d’Italia", "link": "/items/demo_1759.html" }, "start_date": { "year": "1936" }, "text": { "headline": "I Balilla d’Italia", "text": "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)." } },{ "media": { "url": "", "caption": "Ritorna il legionario", "link": "/items/demo_1760.html" }, "start_date": { "year": "1937 ?" }, "text": { "headline": "Ritorna il legionario", "text": "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." } },{ "media": { "url": "", "caption": "Inno all’Italia", "link": "/items/demo_1761.html" }, "start_date": { "year": "1937 ?" }, "text": { "headline": "Inno all’Italia" } },{ "media": { "url": "", "caption": "Sul lago Tana", "link": "/items/demo_1762.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Sul lago Tana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Guadalajara", "link": "/items/demo_1763.html" }, "start_date": { "year": "1937" }, "text": { "headline": "Guadalajara", "text": "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." } },{ "media": { "url": "", "caption": "La ritirata", "link": "/items/demo_1764.html" }, "start_date": { "year": "1935" }, "text": { "headline": "La ritirata", "text": "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\")." } },{ "media": { "url": "", "caption": "Rusticanella", "link": "/items/demo_1765.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Rusticanella", "text": "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)." } },{ "media": { "url": "", "caption": "È finito il bel tempo che fu", "link": "/items/demo_1766.html" }, "start_date": { "year": "1936" }, "text": { "headline": "È finito il bel tempo che fu", "text": "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. " } },{ "media": { "url": "", "caption": "Serenata a Ginevra", "link": "/items/demo_1767.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Serenata a Ginevra", "text": "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. " } },{ "media": { "url": "", "caption": "Vojo cantà", "link": "/items/demo_1768.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Vojo cantà" } },{ "media": { "url": "", "caption": "Serenata a Ginevra", "link": "/items/demo_1769.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Serenata a Ginevra", "text": "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. " } },{ "media": { "url": "", "caption": "Canzone del fante est africano", "link": "/items/demo_1770.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Canzone del fante est africano", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Signor vigile", "link": "/items/demo_1771.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Signor vigile" } },{ "media": { "url": "", "caption": "La canzone dei sommergibili", "link": "/items/demo_1772.html" }, "start_date": { "year": "1941" }, "text": { "headline": "La canzone dei sommergibili", "text": "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)." } },{ "media": { "url": "", "caption": "La sagra di Giarabub ", "link": "/items/demo_1773.html" }, "start_date": { "year": "1941" }, "text": { "headline": "La sagra di Giarabub ", "text": "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)." } },{ "media": { "url": "", "caption": "Ho scritto ar Duce", "link": "/items/demo_1774.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "Ho scritto ar Duce", "text": "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)." } },{ "media": { "url": "", "caption": "Maggiolata", "link": "/items/demo_1775.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "Maggiolata" } },{ "media": { "url": "", "caption": "E l’Italiano canta", "link": "/items/demo_1776.html" }, "start_date": { "year": "1936" }, "text": { "headline": "E l’Italiano canta", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "E canta, canta (Strofette abissine)", "link": "/items/demo_1777.html" }, "start_date": { "year": "1936" }, "text": { "headline": "E canta, canta (Strofette abissine)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Tutti eroi (la canzone dei legionari)", "link": "/items/demo_1778.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Tutti eroi (la canzone dei legionari)", "text": "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." } },{ "media": { "url": "", "caption": "Luna vagante", "link": "/items/demo_1779.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Luna vagante", "text": "This song is from the movie \"Il mango del jazz\"." } },{ "media": { "url": "", "caption": "Vieni a Macallè (Letterina coloniale)", "link": "/items/demo_1780.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Vieni a Macallè (Letterina coloniale)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Voce dall’Africa", "link": "/items/demo_1781.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Voce dall’Africa", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Sanzionami questo", "link": "/items/demo_1782.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Sanzionami questo", "text": "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. " } },{ "media": { "url": "", "caption": "Valzer della fisarmonica", "link": "/items/demo_1783.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Valzer della fisarmonica" } },{ "media": { "url": "", "caption": "Tarantella Imperiale", "link": "/items/demo_1784.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Tarantella Imperiale" } },{ "media": { "url": "", "caption": "Nostalgia di mandolini", "link": "/items/demo_1785.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Nostalgia di mandolini" } },{ "media": { "url": "", "caption": "Abissinia napulitana", "link": "/items/demo_1786.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Abissinia napulitana", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "À canzone d’o gallo", "link": "/items/demo_1787.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "À canzone d’o gallo" } },{ "media": { "url": "", "caption": "Nuova goliarda", "link": "/items/demo_1788.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Nuova goliarda", "text": "This recording represents fascist university and student organizations. " } },{ "media": { "url": "", "caption": "La madonnina degli aviatori", "link": "/items/demo_1789.html" }, "start_date": { "year": "1936" }, "text": { "headline": "La madonnina degli aviatori", "text": "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]" } },{ "media": { "url": "", "caption": "Bella Abissina", "link": "/items/demo_1790.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Bella Abissina", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Si va in Abissinia", "link": "/items/demo_1791.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Si va in Abissinia", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Faccetta bianca (Addio el Bersagliere d’Africa)", "link": "/items/demo_1792.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "Faccetta bianca (Addio el Bersagliere d’Africa)", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "O sergentino", "link": "/items/demo_1793.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "O sergentino", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Morettina", "link": "/items/demo_1794.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Morettina", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Amba Alagi", "link": "/items/demo_1795.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Amba Alagi", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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." } },{ "media": { "url": "", "caption": "Africa Orientale", "link": "/items/demo_1796.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Africa Orientale", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see 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. " } },{ "media": { "url": "", "caption": "Scende la sera", "link": "/items/demo_1797.html" }, "start_date": { "year": "1935 ?" }, "text": { "headline": "Scende la sera", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)." } },{ "media": { "url": "", "caption": "Moschetto e vanga", "link": "/items/demo_1798.html" }, "start_date": { "year": "1938 ?" }, "text": { "headline": "Moschetto e vanga" } },{ "media": { "url": "", "caption": "Canto della Massaia", "link": "/items/demo_1799.html" }, "start_date": { "year": "1938 ?" }, "text": { "headline": "Canto della Massaia" } },{ "media": { "url": "", "caption": "Il minatore", "link": "/items/demo_1800.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Il minatore", "text": "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. " } },{ "media": { "url": "", "caption": "Questa notte ti diro’", "link": "/items/demo_1801.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Questa notte ti diro’", "text": "This song is from the movie \"Musica in piazza\"." } },{ "media": { "url": "", "caption": "Il minatore", "link": "/items/demo_1802.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Il minatore", "text": "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. " } },{ "media": { "url": "", "caption": "Canzone azzura", "link": "/items/demo_1803.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Canzone azzura", "text": "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]" } },{ "media": { "url": "", "caption": "Cara mamma", "link": "/items/demo_1804.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Cara mamma" } },{ "media": { "url": "", "caption": "Mamma d’amore", "link": "/items/demo_1805.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Mamma d’amore" } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1806.html" }, "start_date": { "year": "1928 ?" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_1807.html" }, "start_date": { "year": "1928 ?" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Giovinezza", "link": "/items/demo_1808.html" }, "start_date": { "year": "1928 ?" }, "text": { "headline": "Giovinezza", "text": "\"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)." } },{ "media": { "url": "", "caption": "La leggenda del Piave", "link": "/items/demo_1809.html" }, "start_date": { "year": "1928 ?" }, "text": { "headline": "La leggenda del Piave", "text": "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)." } },{ "media": { "url": "", "caption": "Addio Rosina bella", "link": "/items/demo_1810.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Addio Rosina bella", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)" } },{ "media": { "url": "", "caption": "Serenata a Sellassiè", "link": "/items/demo_1811.html" }, "start_date": { "year": "1935" }, "text": { "headline": "Serenata a Sellassiè", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)" } },{ "media": { "url": "", "caption": "E canta l'ascaro ! \"quel dolce ritornel\"", "link": "/items/demo_1812.html" }, "start_date": { "year": "1936" }, "text": { "headline": "E canta l'ascaro ! \"quel dolce ritornel\"", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)" } },{ "media": { "url": "", "caption": "Ho una casetta… (pronta per te !)", "link": "/items/demo_1813.html" }, "start_date": { "year": "1936" }, "text": { "headline": "Ho una casetta… (pronta per te !)" } },{ "media": { "url": "", "caption": "E canta l'ascaro !", "link": "/items/demo_1814.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "E canta l'ascaro !", "text": "This recording is part of a vast propaganda repertoire of popular songs designed to accompany the political preparation and conduct of the Second Italo-Ethiopian Conflict, followed by the victory of Fascist troops and the founding of the Italian Empire in East Africa. These songs evoke this colonial war and its finality, using a wide range of modes and themes. In addition to the war and the Fascist martyrs, many of these songs assert the legitimacy of Italian colonization of Ethiopia, and more broadly of East Africa, presenting it in particular as a liberating and civilizing mission carried out among indigenous populations who were allegedly enslaved by the Emperor of Ethiopia, the Negus Haile Selassie. Throughout this repertoire, colonized populations are the subject of racist representations. When they evoke the \"African woman\", these racist representations also become sexual (see Gianpaolo Chiriacò, \"Afrovocality – Ethiopia in 1930 Italian Popular Music\", https://afrovocality.com/eirpop/ethiopia-in-1930-italian-popular-music/, accessed on February 12, 2025)" } },{ "media": { "url": "", "caption": "Paesanella", "link": "/items/demo_1815.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "Paesanella" } },{ "media": { "url": "", "caption": "Ninna nanna grigioverde", "link": "/items/demo_1816.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Ninna nanna grigioverde", "text": "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 \"." } },{ "media": { "url": "", "caption": "Tenerezza", "link": "/items/demo_1817.html" }, "start_date": { "year": "1941" }, "text": { "headline": "Tenerezza", "text": "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 \"." } },{ "media": { "url": "", "caption": "Riti ebraici tripolini : finale di benedizione nuziale", "link": "/items/demo_1818.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "Riti ebraici tripolini : finale di benedizione nuziale" } },{ "media": { "url": "", "caption": "Giovinezza (Coro in lingua ebraica)", "link": "/items/demo_1819.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "Giovinezza (Coro in lingua ebraica)", "text": "\"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)." } },{ "media": { "url": "", "caption": "Il Saher el lel : cantato in arabo; Giovinezza : cantato in arabo", "link": "/items/demo_1820.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "Il Saher el lel : cantato in arabo; Giovinezza : cantato in arabo", "text": "\"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)." } },{ "media": { "url": "", "caption": "L'ammaina bandiera al castello di Tripoli : La cerimonia - La Nuba", "link": "/items/demo_1821.html" }, "start_date": { "year": "1936 ?" }, "text": { "headline": "L'ammaina bandiera al castello di Tripoli : La cerimonia - La Nuba" } } ] }