“We’re rockers and rappers, United and strong
We’re here to talk about South Africa, We don’t like what’s going on”

Son passati 30 anni da quando, nell’Agosto del 1985,  Steven Van Zandt, Little Steven,  cominciò a concretizzare l’idea di una canzone contro l’apartheid Southafricana: l’idea iniziale era quella di rifiutare che qualsiasi artista si fosse esibito a Sun City, il nuovo resort costruito al confine col Botswana dove le popolazioni nere erano state deportate per far spazio a un’immagine pulita e sicura del relax e del gambling nel paese.

It’s time for some justice, It’s time for the truth
We’ve realized there’s Only one thing we can do
You got to say I, I, I, Ain’t gonna play Sun City
I, I, I ain’t gonna play Sun City, Everybody say I, I, I
Ain’t gonna play Sun City, I, I, I, I, I ain’t gonna play Sun City

La canzone è un misto di nuovo hip-hop (stava nascendo in quegli anni), R&B duro e Rock: si basa sulla sincopata ripetizione dell’ “I ain’t gonna play Sun City” (‘non vado a suonare a Sun City’): la chiamata di Little Steven fu raccolta da oltre una quarantina di grandi artisti, da Miles Davis a Bruce Springsteen, agli U2, Bob Dylan e molti altri.

It’s time to accept our responsibility, Freedom is a privilege
Nobody rides for free, Look around the world, baby
It cannot be denied, Somebody tell me why We’re always on the wrong side

L’impatto non eguagliò quello di “We are the world”, ma raccolse un buon successo e i proventi dalla vendita del disco andarono a finanziare progetti anti-apartheid delle United Nations e una scuola dell’African National Congress in Tanzania.

Un pezzo di storia.

Ho cominciato a venire in South Africa solo nella seconda metà degli anni ’90, quando l’Arcobaleno di Madiba stava cominciando a formarsi, e i problemi di sicurezza erano ancora tangibili quando giravi per Johannesburg e Cape Town: ho continuato a visitare questo splendido paese durante gli ultimi 20 anni, portando la Camillona a fare il più bel viaggio che lei ricordi, mentre guardava la savana dal confine col Botswana in un lodge gestito dalla comunità locale.

Tanti cambiamenti, quasi tutti in meglio: un giorno potrei veramente venire a vivere qui.

Foto? ieri mattina stava arrivando un temporale e i riflessi dei vetri hanno costruito un ambiente da Alice in Wonderland ..


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It has been more than fifty years since I began traveling across the world — and the seven seas — for work or for pleasure, always with a Leica M camera close at hand. The camera has never been an accessory; it has been a constant companion, a way of observing, remembering, and making sense of the places and people I encountered along the way. I started keeping this kind of journal some time ago, not as a diary in the traditional sense, but as a space where images and words could meet. This is not a publication driven by schedules or algorithms. At times I disappear for long stretches; then, inevitably, I return with semi-regular updates. Publishing, for me, is a mirror of my state of mind and emotions. It follows my rhythm, not the other way around. You have to take it exactly as it comes. Every photograph you see here is mine. They are fragments of a life spent moving, looking, and waiting for moments to reveal themselves — often quietly, sometimes unexpectedly. This blog is not about destinations, but about presence. About what remains when the journey slows down and the shutter finally clicks.

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