Tag Archives: revolutionary music

A brief history of Bella Ciao, the anti-fascist Italian song cited in the Charlie Kirk shooting

The band Fiati Sprecati playing ‘Bella Ciao’ in Florence, Italy, on Liberation Day, April 25th 2014. Photo licensed under a Creative Commons CC BY-NC 2.0 license. Find the original photo by Felip1 here.

Justin Mallia, Monash University

Following the assassination of conservative political activist Charlie Kirk, officials reported unspent bullet casings were found at the scene. These were engraved with phrases such as “If you read This, you are GAY Lmao”, “hey fascist! CATCH!” and “O Bella ciao, Bella ciao, Bella ciao, Ciao, ciao!”

Bella Ciao (literally, “hello beautiful” or “goodbye beautiful”) is a traditional Italian folk song known for its association with the anti-fascist resistance in Italy during the second world war.

It has since moved beyond its usage as an Italian resistance song, appearing internationally in TV series, video games and TikTok videos.

It’s unclear how the reference on the bullet casings was intended to be read, but here’s what we know about the song, and its ties to the history of Fascism in Italy.

What is Fascism?

Fascism was a political movement conceived in Italy. It came to power for the first time in 1922 with the “March on Rome” of the fascist “Black Shirt” squadrons, led by Benito Mussolini.

The movement reframed the concept of freedom in society as possible only under the rule of a dictator.

Traits included the repression of political opposition, complete control of the media, intense propaganda campaigns and racial laws.

Atrocities were committed, including with military invasions and occupations in Africa in attempts to recreate an Italian empire.

Black and white photo, in front of the colosseum.
Benito Mussolini in Rome in 1922. As he leaves the Colosseum, young people greet him with the Fascist salute. Wikimedia Commons

Fascism in Italy coincided with advancements in the economy and industrialisation. By the 1930s, fascist political movements appeared across Europe including in the United Kingdom, Latvia, Estonia, Lithuania, Poland, Hungary, Romania, Bulgaria, Greece, Yugoslavia, Spain, Portugal, Norway and, most notably, in Germany.

A common misconception today is to equate Fascism and Nazism. Fascism refers to a broad array of often contradictory authoritarian political philosophies. German Nazism falls under the broad banner of fascism, but there was only one Nazism, based in specific theories of racist suprematism.

The definition of fascism has always been ambiguous, but after the demise of the Italian Fascist and German Nazi regimes, it lost much of its political meaning in commonplace use.

In a 1946 article for the Tribune newspaper, George Orwell declared:

the word Fascism has now no meaning except in so far as it signifies ‘something not desirable’.

Giving examples such as referring to someone who adheres to a strict diet as a “health-fascist”, or someone who advocates for the environment as an “eco-fascist”, in 2013, political theorist Roger Griffin noted:

The term ‘fascism’ continues to be bandied about by those clearly more interested in its seemingly inexhaustible polemical force than in anything resembling historical or political fact.

Some scholars in Fascism, such as Ruth Ben Ghiat, warn against the authoritarian tendencies of leaders including Donald Trump.

But the unwieldy labelling of politicians or commentators operating within democratic systems of government as “Fascist” is misguided. It dilutes the meaning and memory of Fascism.

What is the song Bella Ciao?

Like many traditional songs, the origins of Bella Ciao are not definitively known.

The melody is thought to date back to 1919. The first documentation of the lyrics is from 1953.

Oral traditions trace the origin of the meaning to the Apennine mountains in the Italian region of Emilia. There, during the second world war, anti-fascist fighters with modest resources stood up to the power of the Fascist regime.

The lyrics recount the solemn story of a fighter bidding farewell to his loved one, preparing to sacrifice his life for liberty.

In Italy, the song has become revered as an almost sacred tribute, sung on occasions such as the anniversary of the liberation of the country from Fascist rule in 1945.

In recent years, Bella Ciao has become popular outside of Italy. It featured in the Spanish Netflix series Money Heist (2017) and on the soundtrack of the first person shooter video game Far Cry 6 (2021).

With a catchy tune and innocuous chorus, Bella Ciao has been remixed in dance music, and featured on TikTok videos. These adaptations pay limited or no attention to the political meaning.

But some new uses of the song, while drawing on its uninformed popularity, are politically reinfusing it for purposes different to its original context.

In October 2024, members of the European Parliament on the political left chanted the chorus in response to a speech by Prime Minister of Hungary Viktor Orban.

No formal explanation was given, but here the use of the song can be understood as a loose attempt to indirectly associate Orban with Fascism.

Making meaning

Bella Ciao has developed conflicting meanings, stemming, at least in part, from the many modern meanings and interpretations of Fascism.

We do not know what was intended by inscribing bullet casings with this traditional song, or what the inscriber’s understanding of Fascism and Nazism are.

But by understanding all of these conflicts, we can avoid collapsing the meanings into a single, monolithic phenomenon – and avoid the dangers of trivialisation and misappropriation.

Justin Mallia, PhD Candidate in Art History and Theory, Monash University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Album Review: Armageddon in a Summer Dress by Sunny War

A woman in a white dress walks along a shore, holding a pair of sneakers in one hand, as she approaches a group of flamingos and a black swan in the water.

Sunny War, born Sydney Lyndella Ward, defies genre in her latest album Armageddon in a Summer Dress. The mixture of genres, such as punk, folk, and pop, makes the album feel like a rich experience where you get to taste different things in one place. The Nashville singer-songwriter brings with her a five-piece band, but you don’t feel distracted by this. It’s like listening to one unified sound that is being done by one person. 

The album begins suddenly as if it steals your breath away. One Way Train, the first song, starts immediately with no introductory music to prepare you for the lyrics. You find yourself diving deep into the world that is Armageddon in a Summer Dress. Just like War defies genre, she also defies logic in the first song. Despite the heaviness of the lyrics, which explore the current status we find ourselves in where the world is filled with fascists and not enough money to survive, you find yourself swaying to the upbeat music. It feels like a club song in the best way possible. It feels like a defying song. Something you will shout as you march against everything wrong with our world. 

Again, War continues defying logic as the next song is the same when it comes to how the music contradicts the heaviness of the lyrics. Bad Times makes you stare at the fact that poverty is beginning to prevail. You face the truth of “I’ve got no money, so I’ve got no power.” And just like you might feel close to the song’s lyrics, you find yourself wanting to say loudly “Bad times, stay away.” How many times does one find themselves wishing for bad times to stay away? Probably a lot more than the ones said by War, but they’ll do. 

War finally takes some kind of mercy on you in Rise, which feels like a lullaby you wish someone would sing for you at the end of a bad day. But War’s pessimism, which is understandable in our times, still seeps into the song in a way when she sings “Bad days go and they come / But the good do too, my friend.” We still have to rise because what do we have left if we give up? The sun keeps rising, and War reminds you that you, too, can be like the sun. 

A different road appears in front of you as you listen to Ghosts. It’s a road filled with eerie music and longing for someone who is long gone. The song becomes more meaningful when you realize that War wrote it after having hallucinations in her late father’s 100-year-old house because of a gas leak, but the lyrics make you feel like she truly saw ghosts. The music and the electric guitar at the end carry you to the end of the song. For a minute, if you close your eyes, you can believe in ghosts too.

The highlight of the album, to me at least, is Walking Contradiction ft. Steve Ignorant of Crass. It is a lyrical masterclass where you can’t find anything to judge. War and Ignorant’s combined voices can start a revolution if you listen to the song for the right amount of time. It’s a reflection of everything wrong with America and how “the genocide” is funded by Americans’ taxes. I found myself holding my breath when I heard “Your humanity does not outweigh your will to survive” because of how true it is. Walking Contradiction is the kind of song you wish everyone knew about. Just like War and Ignorant’s voices are weaved together, so are the rest of the album’s songs. You can’t help but start making connections in hopes of following War’s vision or coming close to it. So when you hear in this song “We sell labor, we sell hours, sell our power, sell our souls,” you immediately think of  “I’ve got no money, so I’ve got no power” in Bad Times.

Walking Contradiction remains with you even as the next song, Cry Baby, starts. It couldn’t come at a better place. War sings about hope amidst pain, and you have pain inside of you after listening to Walking Contradiction. “But you did it once before / I know you’ll do it once more,” War says and you think that this can be adapted to everything the world is going through, including America. History books tell you that nothing lasts forever, and that pain ends one day, and so does War. 

In keeping with pain, No One Call Me Baby reminds us of how lonely we can feel. It perfectly captures the essence of loneliness, and you find yourself feeling some kind of loneliness even if you are surrounded by people. “No one calls me baby anymore / I hold my own hand,” War says, but you still feel like she is holding your hand and guiding you through the rest of the album. 

Scornful Heart ft. Tré Burt comes next and you feel its relation to the entire album. The voices fading away at the end are just like this album, both stay with you after the end. The echoes remain with you, just like you still feel War’s hand clasping yours.

The heaviness of the album keeps going on in Gone Again ft. John Doe which the album gets its title from. If No One Call Me Baby captures the essence of loneliness, then Gone Again captures the essence of regret. You can almost imagine an old lady regretting her marriage and having kids, and for a moment, you are reminded of your own regrets. 

“In your old age as you prepare for death
Regret will haunt you ’til there′s no you left
It′s bittersweet, but at least it’s the end
You catch your breath and then it′s gone again”

Till this point in the album, War managed to handle carefully different emotions such as loneliness and regret. She is weaving a tapestry where there are different colors, but they somehow create something very much complete. 

A portrait of a woman with curly hair styled in two puff balls, wearing a black button-up shirt, standing against a pink wall with some peeling paint.
Sunny War. Photo by Joshua Black Wilkins and retrieved from the New West Records website.

Lay Your Body has its own heavy themes to show off. The longing for someone is a universal feeling, and War seems to know it too well. She asks “Won’t you come back?” and you find yourself thinking of all the times you asked the exact same question. The music feels soft, like pleading with someone to come back, but you can’t show the extremism of your emotions so you don’t scare them away. In a way, I was pleading with War to never end Armageddon in a Summer Dress.

The final song, Debbie Downer, also has upbeat music, and it feels like the perfect end to this journey. 

“You’re a negative Nancy
A Debbie Downer
You’re perpetually antsy
An infinite frowner
This life’s too short
And you’re too crude
Please don’t distort
Hijack my mood”

“Please don’t distort / hijack my mood,” is the feeling you have left at the end of Armageddon in a Summer Dress. The ending of this song feels definite, like a goodbye to the album. In a way, Debbie Downer ends as suddenly as the album started. You remain holding your breath as all the feelings created by Armageddon in a Summer Dress remain with you.

Now, you have ghosts of your own.

A Jewish communist, labour activism and protest songs: a glimpse into a new book by Dave Schechter

“What propelled the daughter of a renowned Jewish scholar to join a movement on the fringe of American society that rejected religion, capitalism, and other mainstream ideals?”

The answer is found in Dave Schechter’s fascinating book, A Life of the Party, about his great-aunt, Amy Schechter, a woman born in England and educated in the United States, and who devoted more than four decades to the Communist Party in a quest to improve the lives of working men and women.

Her work brought her all across the United States, and on her journey, among other things, she was acquainted with the power of song. Of particular interest to Shouts’ readers, this book includes sections with labor and protest music from 1920s-50s.

Among many others, there are such songs as ‘Red Flag’, a Socialist and Communist movements’ anthem, originally written in 1889, or ‘Mill Mother’s Lament’, a powerful protest song whose lyrics resonate just as hard today as they did in 1929 when Ella May Wiggins, a legendary protest singer and union activist, was murdered by corporate thugs ordered to silence her revolutionary voice and music.

Dave told me via email, that it felt important to him to include “the music that applied to the labor actions in which [his] great-aunt took part, whether it actually happened or history says it could have happened.”

‘A Life of the Party’, available through Fulton Books, which blends historical records with narrative fiction, is definitely a worthwhile read for anyone interested in the power of unity, labour unions, protest music and the strength of normal people standing up to their opressors.