Il Mondo Song

[Imke]

Il Mondo" ('The World') is a song composed by Carlo Pes, Lilli Greco, Gianni Meccia and Jimmy Fontana, and performed by Jimmy Fontana. Arrangements were from Ennio Morricone.[1] The song premiered at the 1965 edition of Un disco per l'estate.[1]

The song was adapted in English by Robert Mellin with the title "My World", and recorded by The Ray Charles Singers, The Bachelors and Engelbert Humperdinck.[3]A French version titled "Un monde fait pour nous" was recorded by Herv Vilard and by Richard Anthony.[3] Fontana himself took a Spanish version, titled "El Mundo", to the top of the Spanish charts in 1965.[4] The Spanish version was also covered by popular Cuban singer Roberto Faz and Mexican singer Javier Solis.

The song was later covered by several artists including Gianni Morandi, Milva, Il Volo, Patrizio Buanne, Ornella Vanoni, Claudio Baglioni, Gianna Nannini, Franco Simone, Karel Gott, Dyango, Al Bano,[3] Punkreas & Piotta.[5]

In 2011, Sergio Dalma included a version of the song on Via Dalma II, his second collection of Italian songs performed in Spanish. Issued as the first single from the disc, "El Mundo" rose to No. 10 on the official chart released by Productores de Msica de Espaa.[6] The song also achieved success in Latin America, particularly Argentina, thanks to its inclusion in the soap opera (telenovela) Dulce Amor.

"Il Mondo" was also used in several films, including Richard Curtis' About Time[7] and Philippe Le Guay's Bicycling with Molire [8] and the opening title sequence of the Italian television miniseries Il miracolo.

The gates look strong but quirky, symmetrical in some ways but not in others, painted in subtle shades that bring out the metalness and variety. There are gear wheels, chains, spanners at odd angles, animal shapes, pliers, roller skates, wheels and springs all jumbled together but making a cohesive whole. Somewhat like the way he uses language in his songs.

But what of Mondo Scripto? Dylan has taken 64 songs, written out the lyrics in blocks (so they are not particularly easy to read), and illustrated each one with a drawing. For example, here is one that I like, Just Like a Woman:

What I am interested in is the choice of songs, the choice of images and the way they are executed, and little details like small changes in the lyrics. For example, Ballad of a Thin Man in the original:

In DEATH STRANDING, Sam Porter Bridges' quest across America is filled with long stretches of terrain: Mountains to scale, rivers to traverse, and endless beautiful plains. And often when the coast is clear of dangers, the game will kick on a beautiful song in which to soundtrack your trek. These moments in the game are some of the most beautiful reminders to enjoy the small moments of beauty, and to allow the journey to be the destination.

The song features Peter Hayes (Black Rebel Motorcycle Club) on guitar and Sean Friday (Dead Sara) on drums. It was produced by Lars Stalfors (Cold War Kids) and mixed by Spike Stent (Ed Sheeran, Muse). How did you assemble the star-studded team?

The music video (directed by Michael Barrett and starring Anna Farris) plays more into the turmoil of a relationship, rather than the fires and the world, at large. Was that always in your mind as you were writing the song?

Fast forward to March 11th of this year when we were again driving and a song came over the radio-waves and seized us by the ears, demanding our full attention. The band was Mondo Cozmo, and the song was their enveloping ode Hold On To Me. We immediately flew off into the Mondo Cozmos and discovered a cache of catchy and evocative anthems, songs so good they demanded repetition. And so began our infatuation with this band fronted by Josh Ostrander (formerly of Eastern Conference Champions). For Ostrander and band, you just knew they would join those who, after working for 10-15 years, became overnight successes.

Jimmy Fontana's 'Il Mondo' is a classic Italian ballad that captures the essence of introspection and the realization of one's smallness in the vastness of the world. The lyrics begin with the singer acknowledging that, for the first time, he hasn't thought about his love interest. This signifies a moment of personal awakening, where the singer's attention shifts from his inner feelings to the larger world around him.

As the song progresses, Fontana describes the world as continuously spinning, filled with beginnings and endings, joys and sorrows. This imagery suggests the cyclical nature of life and the shared human experiences that connect us all. The singer feels overwhelmed by the world's immensity and the relentless passage of time, which is indifferent to individual emotions and events. The repetition of the world's relentless movement, with night following day, underscores the inevitability of change and the progression of time.

The song's chorus, with its simple yet profound declaration 'Il Mondo,' followed by the acknowledgment of the singer's insignificance in the face of the silent world, evokes a sense of humility. The melody and the la-la-la refrain contribute to the song's timeless and universal appeal, inviting listeners to reflect on their place in the world. 'Il Mondo' is not just a love song; it's a philosophical musing on life's perpetual motion and our transient existence within it.

Lounge/mondo music that assumes a 60's B-movie feel. This song contains all sorts of rhythmic elements. The back bass, tom, and ride cymbal rhythm that everyone seems to have trouble with is based on the Afro-Cuban rhythm. There are also elements of bossa nova, mods, and jungle. The French vocals are sung in a Lolita voice with the meaningful expression, "What are you thinking about? It's about your black kitten!".

DanceDanceRevolution difficulty rated from 1 to 10 from DDRMAX2 to SuperNOVA2, and 1 to 20 from X onwards.

Difficulty for early GF/DM games rated from 1 to 10 stars. GF/DM difficulty for GF5/dm4 and beyond rated from 1 to 99. (Ratings and notecounts obtained from BEMANIWiki 2nd.)

ZUCKERMAN: You were writing the record while this was all happening. Did you write any of the songs to get out of that confusion and heartbreak or was that happening alongside? Was there a purposeful process behind writing them?

ZUCKERMAN: Neptune City, because it is so rooted in place, felt very East Coast to me. But there are parts of Mondo Amore that have a more country, twangier feel. You went to school in North Carolina. Did that have anything to do with the change?

On Con Todo El Mundo, the band's second album, Khruangbin expands its international reach at a moment when so much of the world seems intent on closing borders. There's the pre-Revolution Iran boogie of "Maria Tambin," the slithering cool of "Rule" (inspired by Persian guitarist Kourosh Yeghmai) and the breakbeat chop of "Evan Finds The Third Room," a tribute to the late-'70s proto-zouk coming out of the French Antilles.

But this being Khruangbin, a global soul swirls all around these songs like disparate frequencies in search of a jam. That the three members put all of themselves into Con Todo El Mundo becomes even more apparent as they share the stories behind each song. From the loving kindness of Lee's Mexican-American grandfather and the bickering couples in Clueless and Romancing the Stone to a group of breakdancers who gave "Maria Tambin" its beat, it's a record that draws from memories and makes them present. The band tells that story here in their own words.

This song was named for Laura Lee's grandfather. When she was a little girl, her grandfather would always ask her, "How much do you love me?" or "Cmo me quieres?" And the only answer he would accept was, "With all the world," or "Con todo el mundo."

He was an extraordinary influence on her life, so this song is a tribute to him. We hope it captures the melancholic nostalgia of missing someone deeply. Since we're primarily an instrumental band, we try to convey our emotions through the music rather than words, but we also try to leave enough space to let our songs reflect the listener's own feelings, rather than forcing our own meaning upon others.

Despite the connection to Laura Lee's grandfather, the music on this track was primarily written by DJ. We think that's what makes our sound unique; all three of us come from such different backgrounds, it's the balance between us and what we contribute that creates something new.

The remote Texas farm where we record has only an old VHS player for entertainment, so we often end up watching the same few movies on repeat while we're writing music. One of those tapes is the '90's cinematic masterpiece Clueless, and one day, while listening to the argument between [characters] Dionne and Murray, Mark started playing a little call-and-response guitar over it. We thought it sounded cool, so we started messing around with it, then added a few melodic tones from an argument in Romancing the Stone. And the song sort of became this ode to bickering couples.

Our creation process is actually quite similar to improvised dialogue. Usually we start with a drum loop, then Laura Lee freestyles some bass over it, then Mark comes in and riffs on guitar over that. So there can be a natural conversational element to our music sometimes, because the songs usually are sort of a conversation between the three of us.

"There can be a natural conversational element to our music sometimes, because the songs usually are sort of a conversation between the three of us," Khruangbin says. Mary Kang/Courtesy of the artist hide caption

Our first album, The Universe Smiles Upon You, was a musical reflection of our total obsession at the time with Thai funk. We were eating, sleeping and breathing it when we wrote that album. But this time around, we wanted to draw from more of our obsessions. So what you're hearing in this song is a reflection of Middle-Eastern music, particularly from pre-Revolution Iran.

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