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“The rangers had a homecoming in Harlem late last night
and the Magic Rat drove his sleek machine
over the Jersey state line
barefoot girl sitting on the hood of a Dodge
drinking warm beer in the soft summer rain
the Rat pulls into town rolls up his pants
together they take a stab at romance
and disappear down Flamingo Lane

Well the Maximum Lawman run down Flamingo
chasing the Rat and the barefoot girl
and the kids round here look
just like shadows always quiet, holding hands
from the churches to the jails
tonight all is silence in the world
as we take our stand down in Jungleland

The midnight gang’s assembled
and picked a rendezvous for the night
they’ll meet `neath that giant Exxon sign
that brings this fair city light
man there’s an opera out on the Turnpike
there’s a ballet being fought out in the alley
until the local cops, Cherry Tops, rips this holy night
the street’s alive as secret debts are paid
contacts made, they vanished unseen
kids flash guitars just like switch-blades
hustling for the record machine
the hungry and the hunted
explode into rock’n’roll bands
that face off against each other
out in the street down in Jungleland

In the parking lot the visionaries
dress in the latest rage
inside the backstreet girls are dancing
to the records that the D.J. plays
lonely-hearted lovers struggle in dark corners
desperate as the night moves on
just a look and a whisper, and they’re gone

Beneath the city two hearts beat
soul engines running through a night
so tender in a bedroom locked
in whispers of soft refusal
and then surrender in the tunnels uptown
the Rat’s own dream guns him down
as shots echo down them hallways in the night
no one watches when the ambulance pulls away
or as the girl shuts out the bedroom light

Outside the street’s on fire
in a real death waltz
between flesh and what’s fantasy
and the poets down here
don’t write nothing at all
they just stand back and let it all be
and in the quick of the night
they reach for their moment
and try to make an honest stand
but they wind up wounded, not even dead
tonight in Jungleland”.

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Traduzione.

“I Rangers si sono riuniti ad Harlem ieri notte
e Magic Rat ha guidato la sua macchina tirata a lucido
oltre il confine del Jersey
una ragazza scalza è seduta sul cofano di una Dodge
beve birra calda sotto la soffice pioggia estiva
Rat entra in città, si alza i pantaloni
insieme cercheranno di incominciare una storia d’amore
e scompariranno giù per Flamingo Lane

Bene, le Massime Autorità corrono giù per Flamingo
alla ricerca di Rat e della ragazza scalza
e i ragazzi qui attorno sembrano come ombre
sempre calmi, mano nella mano
dalle chiese alle prigioni
stanotte tutto è silenzio nel mondo
mentre noi prendiamo il nostro posto
giù nella Giungla

La gang di mezzanotte è al completo
e fissato un appuntamento per la notte
si incontreranno sotto la gigantesca insegna della Exxon
che manda questa buona luce di città
amico, danno un’opera fuori sull’autostrada
e si combatte danzando giù nel vicolo
davanti ai poliziotti locali
Cherry Tops squarcia questa notte benedetta
la strada è viva
mentre i debiti segreti vengono pagati
si stabiliscono contatti, svaniscono non visti
i ragazzi fanno luccicare le chitarre
come fossero coltelli a serramanico
si spingono per gli amplificatori
gli affamati e i perseguitati
esplodono nelle rock’n’roll band
si fronteggiano l’un l’altro
nelle strade della Giungla

Nel parcheggio i visionari
si vestono nella nuova rabbia
nella strada secondaria le ragazze ballano
ai dischi proposti dal DJ
amanti con la tristezza nel cuore
si dimenano negli angoli bui
disperati, mentre la notte avanza
solo uno sguardo
e un sospiro, e sono spariti

Sotto la città battono due cuori
motori dell’anima corrono
attraverso una notte così tenera
in una camera da letto chiusa
in sospiri di leggeri rifiuti
e infine la resa
nei tunnel dei quartieri periferici
il sogno stesso di Rat lo colpisce
come i colpi rimbombano nei corridoi nella notte
nessuno guarda mentre l’ambulanza si allontana
o come la ragazza spegne la luce nella camera da letto

Fuori, la strada è in fiamme
in un vero e proprio valzer di morte
tra ciò che è carne e sangue
e ciò che è fantasia
e quaggiù i poeti
non scrivono un bel niente
si tengono in disparte
e lasciano perdere
e nel cuore della notte
afferrano il loro attimo
e cercano di prendere una posizione onesta
ma finiscono feriti
neppure morti
stanotte nella Giungla”.

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Bruce Springsteen, Jungleland – 9:35
(Bruce Springsteen)
Album: Born to run (1975)

Per altri testi, traduzioni e commenti, guarda la discografia completa di Bruce Springsteen.

Per segnalare errori su testi o traduzioni, o semplicemente per suggerimenti, richieste d’aiuto e qualunque altra curiosità, potete scriverci all’indirizzo [email protected].

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Riferimenti mediatici.

1. Il brano è citato in epigrafe da Stephen King nel primo libro del suo romanzo post apocalittico L’ombra dello scorpione (tit. orig. The Stand) del 1978.

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Citazioni.

Jungleland is an almost ten-minute long closing song on Bruce Springsteen‘s 1975 album Born to Run, and tells a tale of love amid a backdrop of gang violence. It contains one of E Street Band saxophonist Clarence Clemons‘ most recognizable solos. It also features short-time E Streeter Suki Lahav, who performs the delicate 23-note violin introduction to the song, accompanied by Roy Bittan on piano in the opening.
The song in its lyrics mirrors the pattern of the entire Born to Run album, beginning with a sense of desperate hope that slides slowly into despair and defeat. The song opens with the “Rat” “driving his sleek machine/over the Jersey state line” and meeting up with the “Barefoot Girl,” with whom he “takes a stab at romance and disappears down Flamingo Lane.” The song then begins to portray some of the scenes of the city and gang life in which the “Rat” is involved, with occasional references to the gang’s conflict with the police. The last two stanzas, coming after Clemons’ extended solo, describe the final fall of the “Rat” and the death of both his dreams, which “gun him down” in the “tunnels uptown,” and the love between him and the “Barefoot Girl”. The song ends with a description of the apathy towards the semi-tragic fall of the “Rat” and the lack of impact his death had- “No one watches as the ambulance pulls away/Or as the girl shuts out the bedroom light“, “Man the poets down here don’t write nothin’ at all/They just stand back and let it all be“.
In September 2004, Q magazine rated “Jungleland” one of the “1010 songs you must own”. In 2005, Bruce Pollock rated “Jungleland” as one of the 7,500 most important songs between 1944 and 2000. The aggregation of critics’ lists at acclaimedmusic.net placed this song at number 1170 in their top 6000 critically acclaimed songs. Additionally, the song is much beloved by fans and critics and continuously makes it onto lists of Bruce Springsteen‘s best songs.
In concert, “Jungleland” is usually played towards the end of shows. During the E Street Band‘s reunion tour in 1999 and 2000, it was part of a revolving “epic” slot, alternating with “Backstreets” and “Racing in the Street“. When played, it is sometimes preceded by its Born to Run predecessor, “Meeting Across the River“. Its appearances were rarer during The Rising Tour. During the 2007–2008 Magic Tour, “Jungleland” was played periodically, often played every third or fourth show in a slot where it alternated with “Backstreets“, “Rosalita“, “Kitty’s Back“, or “Detroit Medley” and gaining in frequency as the tour ended. It also appeared intermittently during the 2009 Working on a Dream Tour. Its performances in 2009 became substantially more frequent later in the tour as the band began to play “Born to Run” in its entirety at most shows. Following the death of Clemons in 2011, the song was not played for a majority of the 2012 Wrecking Ball Tour. The song finally made its tour debut just before the end of the tour’s second leg, during the second of two shows in Gothenburg, Sweden on July 28, 2012. In a hugely emotional moment Clemons’ nephew Jake Clemons performed the signature saxophone solo, occupying Clarence’s usual spot on the stage. After the song, both Springsteen and Roy Bittan gave Jake a hug. The song has since rejoined Springsteen’s live rotation.
John Malkovich used the song, among an all-Springsteen theatrical soundtrack, in his 1980s Steppenwolf Theater production of Lanford Wilson‘s play, Balm in Gilead. It served as the background for a choreographed tableau of street denizens miming a tragic slice-of-life. The American educational children’s program Sesame Street featured a parody of Springsteen about addition called “Born to Add“, which though ostensibly a parody of “Born to Run“, is more musically and lyrically reminiscent of “Jungleland“. The post-apocalyptic horror/fantasy novel The Stand by Stephen King opens with three epigraphs, one of which is a section of lyrics from the song”.

(Wikipedia, voce Jungleland)

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Direttore: Arturo Bandini ([email protected])
Responsabile Quality: Alessandro Menegaz ([email protected])
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