romeo1985

Lewis, it’s not that I’m speaking nostalgically; I was young back then, so I couldn’t carry with me a wealth of memories. After a few years, I saw the Parisi initials, I read something about that decade, and my words are a bit of an amarcord for a time that no longer exists, even if I didn’t live it. For now, I’ve decided not to review anymore, due to my university commitments, and I apologize to everyone if my reviews haven’t been appreciated. Bye.

Sorry for raising this dust storm vortex.

Then I don’t consider the evolution of the group but Ferretti, I didn’t mention Zamboni or later Ginevra De Marco, I felt CCCP for Ferretti, I admire him even more today.

Vortex is not revisionism; it's simply the acknowledgment that Ferretti has become a fervent Catholic. This album is an example of a path he has taken. Then there's Epica Etica, and later with CSI also Tabula Rasa, (which recounts their journey in Mongolia). And if you pay attention to the PGR CD "D'Anime e D'Animali," I don't understand why someone like Ferretti is now being criticized by the very environment that once hailed him. I respect him, especially today for the choices he has made.

Gustavotanz, finding myself by chance in my review, I clicked on your name on that lovely "this is too much" and found this amazing review of an album that I consider the most beautiful of the Ferretti group, and I’ll explain why. Our dear Ferretti, for the first time, ventures into a work that we could say has a mystical background, a work that many at the time considered excessive for a group that proudly identified as pro-Soviet (by the way, I managed to find a reissue on CD, in a cardboard Orthodox cover with a nice hammer and sickle on a fiery red background). Ferretti, now a fervent Catholic believer, has changed; he's altered his lifestyle, but in my opinion, he has continued that inner journey that is evident in this album. Lildo would never have become what he is without this record. I bought it one May day while I was walking with my friends when, stopping in front of my trusted record shop, I felt like checking out the Italian groups, and at letter C I remembered that I was missing this "canzoni danze.." from the CCCP. I was torn between this one and "socialismo e barbarie," but it was worth it. "Madre" is a plea, truly exceptional, "Roco Roco Rosso" is a gem of our new wave, "Fedeli alla lira?" with that riff is really nice (and here, if you remember the song, you understand that Ferretti is about to change direction; in one part he says, E POI MI VUOI FEDELE A TE ALLE AVANGUARDIE ALLE NOVITÀ, AMA ANCHE IL PROGRESSO LE MODE LA MODERNITÀ), it’s clear that he’s now caught up in a mystical and almost anti-modern view of life, in conflict with his orthodox Marxist belief. But even "epica etica etnica pathos" is no less. Still, if I have to point to one album by the group, I choose this one. Congratulations again on the choice and the review.

Stoney, what you say is very true. If you notice, in my introduction to the review, I said that Paris Fashion is the most frivolous, glossy, and television-like aspect that the decade had as its flagbearer. I partially agree because every era has its (unfortunately) myths, which leads us to understand how malleable and highly impressionable we are. Some say we're manipulated by consumer industries, subtleties, and sometimes abhorrent trivialities, but if we’re nearly 60 million in Italy and television is the primary source of entertainment, it’s neither your fault nor mine; it’s just that people prefer that, without too many problems or impediments. It’s not about cultural heritage but rather a simple observation that in that time we replaced "culture" with starlets. Your example of popular culture is clear; I am passionate about research and love Eugenio Bennato. I don’t know if you’ve heard “Tarantelle del Gargano” with the Cantori di Carpino and all the other CDs, but this kind of music is relegated to niche listeners, despite having gems of high culture, while the music that reaches (and perhaps pleases more) Italians is that of television. I repeat, I cannot determine if it is a good or bad thing; it's just a simple observation. I’m pleased that culturally astute and articulate people like you, Stoney, can find these differences between "mass culture" and "cultural industry," making the ensuing debate interesting. I will try to read some books on the subject; thank you, bye Stoney.

jurix, I really like you; I can't criticize you. My view is about an icon of the 80s. It's not that I'm confused; it's the truth that at that time we wanted to look at something else. You are probably referring to a moral and cultural decline that today sees its completion, and this should make us reflect. Because if we are what we are (I know that you don't identify with the media of this society, and I respect and admire you for that), it is all the result of that kind of TV. I spent a good part of my youth criticizing the entire star system and not identifying with it, but then I realized that everything is connected to our history. We can criticize or not criticize; I have a neutral judgment. I have come halfway, and today I don’t openly criticize TV but watch very little of it. I have no prejudice against those who come out of shows. One example (and I apologize) is Ferreri. You don't like her, and I understand, but by buying the album, I managed to find something worth saving. We're not talking about a great figure in music, but about a good singer who last summer managed to have the summer hit. Every summer has a hit, and then they end, leaving only a little behind. Frankly, I don’t know if Ferreri will be able to repeat herself, but the fact remains that if one day we remember her, the first thing we will think of will be that song that reminds us of summer 2008. My judgment back then was critical but tending towards neutral; in fact, when my friends and I heard it, we would change the station or put on a PFM CD. But I couldn’t criticize her, and today, as soon as I hear it, I relive that summer with a different perspective. Sorry, jurix. Anyway, I think I will take a break because university commitments are calling me, but jurix, I respect you with admiration.

You hit the nail on the head, carpanix, about what I wanted to say. History is sometimes made by those we believe are not suitable for it. You can say anything about that decade; you can criticize disengagement, yuppism, ambition, the desire to have fun, and it’s not for us to judge whether it was good or bad. My perspective on that period is positive; I’m a fan of the '80s. But if you notice, in my review, there's precisely the comparison between Battiato, Litfiba, and Diaframma with the rest, which is then real history, because today we remember the epochal change that took place back then. La Parisi, along with other pin-ups, managed to change our way of thinking. Because as soon as you hear La Parisi, you immediately connect her to that decade with everything I mentioned in the review. I think that’s the description. Reevaluating the entire context means reevaluating what Italy was like then, with all the desires to break free from tortured years like the '70s, heavily ideological, and out of a stagnating economy. And the '80s were precisely about the desire for reconciliation and a new economic growth, and in my opinion, La Parisi played an incredibly important role today to be analyzed sociologically.

Vigilante, keep it up!!!

Yes, yes, it's true! It seems he made a cover for South America.