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Non hai fornito un testo da tradurre. Per favore, inviami il testo in italiano e sarò felice di aiutarti con la traduzione.

At 16, I was already crazy about Mingus, especially for Blues and Roots, which I found to be far more energetic than all the metal my peers were blasting combined and raised to the power. It wasn't very easy to gain social respectability in an adolescent group with such tastes, but time is proving me right, even if I feel I have to wait at least another thirty years.

Exceptional

but it's not a matter of liking or not...come on, sing that it sucks, at least be nice.
Anyway, if you put it that way voicefaice I'm almost in agreement.

Ehmmm, no, really it was a joke...you know, after the sea came into New Orleans and gutted it, a headline like that would have been at least out of place, regardless of the chronology of events, yes, but it was a joke, as you can see I also tend to overestimate the wit of older generations a bit. Unless your comment about getting into the mindset from across the ocean was also a joke; what mindset would that be, the one where in order to export democracy you need to roast children with white phosphorus, or the one where in a city ravaged by flooding the army arrives with guns drawn and ready to fire on looters?
Returning to the matter at hand, for me Cammariere is useless; the piano sounds somewhat nice, he borrows here and there, makes a CD with something nice and the rest boring and mannered, live he's a boor and he carries himself like few others. If he had been from New Orleans, it would have been the same, although I doubt he could have put on airs there like he does here and he definitely wouldn’t have been able to pass himself off as a jazz musician.

If good Sergio lived in New Orleans, he would have never even dreamed of naming an album "Dalla pace del mare lontano," just think about it.

Personally, I find the pairing of Povia and Cammariere a bit bold; then again, to consider Povia an artist...well, it depends on what one means by artist, and the same goes for Cammariere. The two do totally different things—one is a bit arrogant and pretentious, while the other is honest but banal and simplistic, a nice product to sell in these times of ringtone music. I refuse to consider either of them artists; otherwise, I wouldn't have any criteria to judge Conte, Gaetano, De Gregori, Daniele from the good old days, but also Bertoli, Fossati, even Vasco—come on, guys, let's not kid ourselves. It’s not enough to have learned a few jazzy harmonic progressions to be refined artists (by the way, Cammariere heavily borrows from the American songbook, just notice it) just as it's not necessary to be borderline silly to reach the "heart of the people" by imitating a pigeon and thereby being considered original. In short, in my opinion, we can spare ourselves the listening of both.

Yes, Zara, it’s true; moreover, it seems that this wasn’t even the first time she had such outbursts. At the exit, the most whispered word was undoubtedly "cafone."

I don't know, in my opinion it's not that great. He might be a decent pianist, but as a singer he's lacking, and as a composer he's good but never entirely original, a sort of Paolo Conte with less verve and more chords, as for the lyrics, well. I saw him live a few years ago, back when he was really hyped up, and I have to say he didn't leave a great impression on me, not even in terms of personality, especially when at the end of the concert, when fans asked him for an encore, he said, "Encore? ..buy the album!" and indeed he didn't give one.

Yes Jim, especially since now they have invented a razor with four blades that they sell with half a liter of zero positive as a gift.