a Banned

The fact is that there are two types of artists plus the category of crap: there's not much to say about the crap... the non-artists (many) and the true artists (very, very rare) are the other two categories... non-artists are those who might be a bit talented (Liga and Vasco... etc.) who have something to say, they say it, maybe even well, then after they've said what they have to say (sorry) they lack the artistic ability to move forward and start making very commercial crap.
And then there are the true artists (il maestro, il principe... and... that's it, or almost) those who have something to say, they say it well, and even if the things they have to say are fewer, they still know how to give depth to what they do, always evoking emotions and taking care of what they create, putting in the sweat and showcasing those artistic abilities that non-artists lack (sorry for the structure but I'm a bit tired)...

Who the hell has something to say?... Come on, it's been twenty years since he did anything decent?... Bennato? What's he ended up doing, making songs for summer with Britti on Top of the Pops or whatever it's called? Or Vasco and Liga...two practically finished rockers who are also a bit ridiculous (hyper-commercialized to the power of N cubed)...

In short, the conclusion of all this is that Ritratti is one of the CDs by Guccio that I like the most... from his Platinum Collection, I mainly listen to CD 3, the one with the songs from the '90s to today... the one that some of you criticize so much and that, fortunately, many others I know appreciate...

By the way, have you listened to "Su in collina"? The new song she sings on her tour? You can find it on YOU Tube... it's really beautiful...

The fact is that if he has nothing more to say, then Italian music is finished... who the hell has something to say? Meneguzzi? Ferro? Pezzali? Ramazzotti? Zero?... I really don't think they have much to say... rather... that it's no longer as intuitive is fine... but his "saying" has become another: the aesthetics, indeed, the nobility of the "particular"... the historical refinement... the lexical detail...

I meant to say CD not DC uhauhauahua sorry!!! :))))

Don't think that I liked this record right away; it took me a couple of years to realize that this "sublimation of form" made it one of the most important of his career: Guccini has reached the moment of "formal transcendence" (don't be fooled, there's nothing obscure in these words). Forgive the spelling mistakes, but they show the simplicity and genuineness of what I'm saying... it's the proof that I don't want to play the professor... on the contrary... I want to find myself in what you say... it's just that I truly believe in the things I'm telling you (and I'm not very good with the keyboard... unfortunately).

Come on, have you really listened to it, Odysseus?? I mean really listened... did you hear the lyrical power of those damn verses (I’m talking about the studio version, which is better than the live one)... did you notice the exquisite half-rhymes, the apocopes, the subtle periphrases, the anaphoras, the rhythmic cadences marked by the percussions, the rare beauty of the metaphors (sweat and earth were silver / wine and oil were my golds), the stunning alliterations (Com P agni P ersi / e NA vi NA ufragate), the Apheresis, the Analessi of the final fabric (The way of the sea marks false routes... etc.), the Anastasises (humans... gazing at the stars, the trembling), the exceptional antitheses, the chiasms, the ellipses, the syntactic inversions, the hyperbates, the metonymies (the eternal night of those who sang me during the day), the prolepses, the synecdoche (ship, sail, oar, the fracture between beginning and end...), the synchesis, the linguistic variations, the numerous enjambments as Ulysses approaches the vortex, to give a sense of circularity... of a storm that hurls you right and left... did you carefully notice all this stuff (I swear I’ve never heard anything like it, with such manic care... never... and I know all the singer-songwriters’ discographies by heart)... this is what I mean when I talk about (new) expressive or symbolic ESTHETICISM...(think that in the Semitic poetry course at my university - La Sapienza - this song is studied!!!)... tell the truth, had you noticed all these things...? The fact is that in all Italian music (I’m not talking about operas obviously) there’s absolutely NOTHING EVEN REMOTELY SIMILAR (except for Branuardi who has set the Divine Comedy to music, which he didn’t even write ;)... that’s what I wanted to point out to you.

Guccini is more of an esthete... perhaps a bit more baroque and also a bit academic, but I don't mind this academic nature at all... :-)... a DC doesn't have to be written in one go to be beautiful... even elaborateness has its value.

"On the contrary, my doubt is whether you’re the same person." ...in what sense? ...the same person as whom?
"his transcending in the technical and semiotic construction of texts" ...what the hell is strange about this phrase?? ...it doesn't seem particularly obscure to me... I’m simply talking about Guccini's new "aestheticism"... his "technicism"... which absolutely didn’t present itself before. If it's true that art is a symbol, then this pompous, meticulous search for the "particular," this new somewhat elegiac lyricism (yes, let’s admit it... but in the end, it’s not a bad thing) has its own precise symbolism and witnesses the "new," a "change"... the continuation of an artistic journey that inevitably evolves over the years. It seems clear to me that it’s no longer intuitive, but this new artistic dimension makes sense and is physiological.