italy breeze

The cover to father figure by Jon Bellion.

We left off discussing Jon Bellion’s music and its impact from a structuralist perspective.
Now, I want to examine the same album through a different lens: I want to use post- colonialism to analyze the song "Italy Breeze" and the generational
trauma experienced by children of intergenerational immigrants and how Jon Bellion challenges the idea that generations must constantly pass down a kingdom—even when children aren’t ready. In postcolonial theory, a significant part of the structure is: that things can be passed down—even if we don’t intend for them to be—such as self- hate, the desire for a kingdom, or simply wanting life in general to succeed. The purpose here is to: examine intergenerational trauma and connect it to Jon Bellion’s message.
saying: The song begins with these lyrics: "What's an Italian pharaoh? Born from a
stallion's marrow, Lawyers straight like a circle, Labels round like an arrow, I came from
Ginos and Gambinis and Jerry Gallos. Oh, you thought Jerry Gallo?"
What’s a trope? A trope is a general word for any kind of image, any kind of figurative language (as opposed to literal). Its meaning in Greek is "to turn," as in "to turn a phrase"— using a trope "turns" the argument or discussion toward a nonliteral use of language.
The idea is to flip the concept of pure Italian culture. The idea of being a Gino (primarily a masculine Italian given name, often a diminutive of names like Eugenio, Luigi, or Giorgio), Bellion immediately flips it to a positive. He suggests that we come from descendants of different backgrounds—but to play in the sandbox of the oppressor’s ideals. Most Italians are known for becoming lawyers or taking on roles that are considered derogatory for their culture; however, there is more to Bellion’s message—he wants to show that he can be more... Immediately, he goes on to explain in the song: What's an Italian pharaoh? Well, I learned from Moses a kingdom can be brought to ashes Pestilence, famine, and cattle Yeah, pride's a bitch and my firstborn's just a kid So I'll pack up the pharaoh talk and keep my eyes on the Passover sparrow There's nothing sadder than a father stuck inside a much, much younger man's bravado "Young forever's" the motto, then deadbeat is the model (Sheesh)
Bellion highlights that his trauma isn’t being passed on to his children. He recognizes the problem of passing down the throne. At the time of this song’s production, he only had one child, so he highlights the phrase: "There's nothing sadder than a father stuck inside a much, much younger man's bravado. "Young forever's" the motto—then deadbeat is
the model (Sheesh). The immigration boom has always been driven by humans wanting: more for their children’s future. But he manages to push the idea that he won’t do that; he wants to be better and desires something more for the foundation he has built.