djmushroom

No, Primiballi and Tom, I disagree. I might have been wrong to use D'Alessio as an example (it is indeed too trashy). Regardless, I believe that characters like Pausini are helpful to society. Simply put, without wanting to make an elitist argument, a large part of the population is unable to understand the songs of Fossati, Conte, or De André. Music needs to have a social function; it should bring carefreeness and ease tensions. If only Fossati’s songs existed, do you know how many people would go home and beat their wives? Then, of course, what you say is true: that these songs hold little value and lower the cultural standard. Even 25 years ago there were Futura and Gloria. This isn't a matter of being overly nice; it’s that these little songs serve a social purpose. But can you really imagine a world where everyone reads Thales, Anaxagoras, and Anaximander, and listens to De André and Fossati? I don’t know. In terms of ideals, your argument is valid, but not in practice.

Tom, the point was that D'Alessio's songs serve to brighten the days of a certain type of people. Then who said that one shouldn't have a critical sense? Not me. I assure you that one of the guys who works where I work is a big fan of D'Alessio and couldn't appreciate De André. That D'Alessio's songs are really bad I agree with you. Nonetheless, D'Alessio's songs can serve a purpose. If you had read my comment carefully, I think you would have understood its meaning. You probably read it in a hurry.

In the '60s, you could choose between the beautiful and the ugly. Now you can't; that's the difference. Battisti's and Pravo's songs from the late '60s were still memorable tracks.

Point 48, not point 50.

But excuse me, primiballi, it doesn’t seem to me that I'm making daring parallels, but rather that we don't understand each other. On the scarcity of modern times, I agreed with you; read point 50. What I meant to say is that there are those who read Kant and Hegel who find pleasure in listening to cultured and difficult records, and then there are others who take pleasure in listening to D’Alessio. There's beauty for every target audience. D’Alessio may create lowbrow songs, and we agree on that, but it's not pointless because it brings joy and happiness to, let's say, simpler people. You see, even you and I sometimes don’t understand each other, no offense.

In my opinion, Ruggeri that year went to Sanremo with the intention of winning. The real favorite was Zero, but the second big name was his. He indeed brought a weak, easy, deliberately Sanremo-style song to reach a broader audience, to the point that even today he owes his popular notoriety to this bad song. Then I can agree with you that there are few clever songs. However, that year De André deserved to win, and then there was the second place.

You are right; in fact, he is one of my idols. An intelligent person who has always done his work with enthusiasm and passion, someone who has especially had a lot of fun. He has certainly had, and continues to have, a quality life. To have a quality life, you don’t need to be particularly rich, but you do need intelligence. Anyway, I think he has made a few songs that we could call "smart," with Mistero being the standout.

Well, you're right. From modern times, you can't expect much; everything is plasticized. There's no more credibility. Lou Reed risked dying from an overdose every day while today's rockers play on the PlayStation. You're right that D'Alessio is a fool. But remember that not everyone reads Kant or Hegel.

In any case, if I'm allowed to give a piece of advice, even if no one will read it since I've fallen off the homepage, music should be listened to (and made) more with the heart than with the head. For this reason, I cannot stand groups like Radiohead that think about releasing an album countless times before actually doing it. The most beautiful songs are those that come from instinct, and you can feel it when there is joy, when there is passion, when there isn't excessive cerebral thinking (the three albums by Dalla "Dalla," "Lucio Dalla," and the "Q disc," for example, indeed).

Dear primiballi, do you see that I am right? Ruggeri has made mistakes in managing his career. He accepted (probably knowingly) to sing mediocre songs to attract a larger audience.
This is also why he is treated with suspicion (the cunning Mannoia, for a certain period, after singing various songs of his and praising him, kept him at a distance). Furthermore, you cannot compare the beauty of L'anno che verrà (or Futura, Cara, La Sera dei Miracoli, Stella di mare for example) to Caruso, come on. To me, Caruso has sounded like a drag since the first listen.