When you say "bad Tuscan people "....... we are a bad race, and what is worse is that we infect even those who are passing through this land (indicating that genetics, many times, is only an excuse..)
Catherine was born in Fiesole, but she was not in Tuscany
for God's sake!
Spanish father and Swiss mother, like many who've come here and are most are not 'moved ... (call them idiots)
Theyr daughter falls in love with this place, she want to fully understand it (call she stupid, too ...)
And then, after learning 3 chords on guitars (the chord sequence around C, I know that I almost do well, which means that any moron can get there) and having get as a present a crappy tape deck, she begins to turn the campaign to crush the peasant'balls were singing traditional songs, doing research ethnomusicology, in short (which sounds very illustrious and learned, the better, right?) ..
And after having accumulated a great deal 'of these songs, she begins to sing it with hers little guitar ... In 1964, with Nuovo Canzoniere Italiano, she participates in the show "Bella Ciao", wich is staged June 21 to 29 in the seventh Festival dei Due Mondi in Spoleto. At that time Caterina also performs the song that is the most reminded of: all her songs, "Maremma Maremma (Maremma Amara)", as amended from her collection on the mountains of Pistoia. This song (later echoed by many singers including i Gufi, Nada Malanima, Gianna Nannini and Amalia Rodrigues), will accompany her for life. In the same year she released her first album, "la brunettina - canzoni, rispetti e stornelli toscani" the label "I Dischi del Sole".
In 1965 she co-founded the Cabaret 65, in the same year she participated at a Folk Festival, held in Turin, September 3 to 5.
In 1969 she participates in the show "Ci ragiono e canto # 2", directed by Dario Fo.
During a show at the Rome Folkstudio she met Francesco De Gregori, then a young singer-songwriter, and write him for the tour of 1971.
In the late '70s, during a radio interview about Maremma broadcast by RAI, Caterina gives notice of a public meeting on setting up a nuclear power plant at Montalto di Castro. This episode is the never declared but strict ostracism by the RAI , which will last until the mid-2000s.(Catherine, you'd been here a few months ago, to celebrate with us the result of the referundum against nuclear power plant...... but I'm sure that somewhere you've heard ..)
From that moment her role as a singer can go abroad, especially in Switzerland and France, and Italy only through ARCI, the Case del Popolo and other alternative or underground circuits, accompanied by talented musicians, both popular and Training classic, which she often discovered and promoted.
In 1995 she performed again with De Gregori in Rome: the occasion is a fundraiser to save the Folkstudio, comprising also other singers, like Giovanna Marini, Mimmo Locasciulli, Claudio Lolli and Paolo Pietrangeli. All together at the end of the concert performing an anarchic song starlings of exile of Pietro Gori, better known as "Nostra patria e' il mondo intero" (Our Country is the whole world).
In 1997 she released the CD "Canti di Maremma e d'Anarchia", a collection of songs recorded in the first half of the '90s, with the exception of two tracks: a recording and an original song recorded in 1979. The CD, produced in collaboration with the Folkstudio, is distributed as a supplement number 29 of the weekly magazine "Avvenimenti".
In the same year the City of Florence gives her the "Fiorino d'Oro", the highest honor that the city gives to persons who have represented in an original and significant way the Tuscany and Florentine culture in Italy and around the world
On August 8, 2006, the Council of the City of San Marcello Pistoiese gives her honorary citizenship in a ufficial ceremony during the "Sentieri Acustici" exhibition.The September 1, 2006, she held hers last public concert in San Giuliano Terme.
Her death occurs prematurely in Florence July 16, 2007. Her resting place in florentine Monteripaldi.cemetery.
On Wiki pedia (from whom I shamelessly copied much of this biography) does not say that she died early on with the liver eaten by all the horrible things that she had been drinking over the years that had reduced her to a shadow swells and tottering who lived in a filthy old apartment .... and oh well, we still know it...
There is a song by Catherine that consumes me at least thirty years, because it has a story just lovely, that I copy-paste from the site AntiWarSong:
"The Tuscan folk song has, we can say, his" grandmother. "It's a little song, a lullaby specifically, collecting forty years ago (in 1965) from the main Tuscan folk singer, Caterina Bueno in the countryside between Barberino Val d'Elsa, Colle Val d'Elsa and San Gimignano, an elderly woman named Pia Calamai.
A lullaby, but with a complex history and exciting (at least for those who love the folk traditions of their own and other lands). The reduction lullaby (or generically a song "Children", to rhyme, etc..) Is very typical of the filings made by the oral tradition of rural births texts to narrate the facts very different, often with the addition of traits that it is wrong to define and mythological traditions that go back thousands of years already out, but handed down from mouth to mouth, but keep losing the features originate, so to speak, and concealed a faint echo.
Is the case of "NinnaNanna di Barberino," in which, at some point, as will be seen from the text, there are "three wives" (one row, the other flounders and the third that packs a hat) that "hide" clearly the myth of the three Fates, probably pre-Indo-source and is well placed in an essay that was to be originally a song that told a tragic fact of war.
The notion of "the oldest song" is clearly unstable in a popular song. No one has "written" it and his statement is much later the facts that are narrated, or where there is an echo. But in this case is mentioned in the song to a "battle" between Barberino Val d'Elsa and San Gimignano (the city of towers), which brings us back to times very far away: .the war between the two communities is in fact told in the chronicles twelfth century and is located precisely by historians to the summer of 1114.
During this war, carried on and off as often happens, and no real "winner", the chronicles speak specifically of the fact that Barberinese would have penetrated some of the towers of San Gimignano in reducing the current ones, and for which San Gimignano is famous in the world, are only a few remnants. The exact statement of this fact in the song speaks to us of his true origin.
Is therefore respectfully and emotion that I'm going to transcribe the text of this "ancestor", or wreck of the Tuscan tradition. Still alive, I remember, in the late 60s of the twentieth century, if a good and passionate picker could hear from the voice of an old Barberinese woman, perhaps the terminus of a dying old tradition turned into a sweet lullaby with a unique music.
But a lullaby as evidenced by its historical origin: war, hunger and poverty, ("bread and there is not a bite"), destruction ("Barberino, run run, set fire to the towers ").
LULLABY OF BARBERINO
(English version by Riccardo Venturi)
Lully lully my little lamb
there's not a bit of bread,
neither raw, nor well baked,
nor yet too finely ground.
And the miller has not come,
may the wolf eat him up,
the wolf and a pack of wolves,
may he feel pain in his groin.
Groin pain is too bad a thing
and uphill there's a bride.
And downhill there's another,
The one's spinning, the other's reeling.
One is making a straw hat
to bring it in the battle.
And in this battle
Barberino was set on fire.
Barberino oh run oh run,
all its towers were set on fire
one tower was broken in two,
and the baby got asleep.
One tower was broken in two,
and the baby got asleep.
Ah, Caterina was a great woman .... Tuscan race, the good ones, and I think after a good drink we can still see her while flying over the rooftops of this earth that she has so loved .... but perhaps it is simply to the drunkenness.
Caterina Bueno - 500 catenelle d'oro (five hundred chains of gold)
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