ajejebrazorf

of course it's punk, of course it's rock, I don't see any attempts at self-assertion or opposition to America (and I listen to a lot of American music), it just seems like a claim of one's own identity. The fact that punk was born in England and the United States doesn't mean it can't be reinterpreted with one's own sensibility and made original.

"Let it be clear that the discourse is never political, except as a consequence; it is aesthetic and ethical. We are filosovietici not because we are leftist, if we have ever been, but because we are bound to the human experience by interests that do not exist and are not contemplated within the American empire, and thus little by little, sometimes with discontent and always in an unpredictable manner—like only truly lived experiences can be—we have allowed ourselves to be enchanted by the Soviet empire." This measures their leftist identity. European modern music does not mean denying the merits of American music: "this is not our music; it is the music of others. Often we like it when it is made by those who can and should make it; often we do not." It means trying to have different cultural references and putting oneself on the line, and despite the fact that the music of cccp is one hundred percent rock, the European (theater, expressionism) and Eastern influences can be felt throughout.

Kosmo, however, I appreciate a comment at this point, also because I feel that the words from Ferretti's speech are very much my own, and in my opinion, they convey how critical and measured the discourse was: it also shows that there is no anti-American temptation and (nor racist obviously), I personally endorse them entirely, without beating around the bush.

Apologies accepted, and you only gain from it as a person. But I really don’t know how I could have insulted you, especially since I find insulting someone through a screen to be quite naive; it doesn’t take me long to write them, but it doesn’t amuse me at all. You understand me, you can really listen to whatever you want (and if you think the Area are fools, I can calmly say it doesn’t change anything for me; they’re not my relatives, I like them a lot but that’s as far as it goes, everyone is free to think what they want), but if a discussion arises I participate, and if you say something that I find inaccurate, I correct it, without arrogance, and in case I know Vasco and the other bands and I have engaged in the history of Italian rock: if I give some musical advice it’s because I hope to receive as much in return. Peace.

No way. Celine was an antisemite (and a piece of shit, from what I've read), Rimbaud a slave trader, Ezra Pound was a fascist, but I wouldn't dream of questioning their worth.

It's bogus, I know (speaking of Caravaggio), I also have some examples in mind... I should add that I really enjoy certain reflections on difficult themes like violence, which sometimes you can't express with cultured turns of phrase or politically correct language: think about films too, since I've seen that you're passionate about pulp and "violent" movies: when I watch "Goodfellas" or certain films by Kitano, I know very well that they are violent, but they are good films, not just some nonsense to dismiss by saying "it's a violent film."

Well, I like provocations, and if a group puts Mussolini on the cover, I don't get scandalized that easily; I try to understand what's behind it. I don't know if you've read that review by Brian Eno that I mentioned earlier, but there was this story: Duchamp takes a urinal, turns it into a work of art, and puts it in a museum. This "piece" is worth millions. Brian Eno takes it and urinates in it, paying "homage" to Duchamp and proving that he understood what Duchamp meant. The real scandal isn't Eno urinating in the urinal; the scandal is that that urinal is worth millions.

Well, I generally try to separate things: right now I'm being a show-off, but when I look at a painting by Caravaggio I don't think about the fact that he was a murderer. When I read Celine, Ezra Pound, or Rimbaud, I focus on what they do: among the musicians I listen to, there are definitely people I couldn't handle in person, and among the most useless musicians, there are some who are worth it. Then honestly, you are absolutely convinced that this album is all about politics. How can I put it in just one word: no :) the only political track is the first one, the rest is definitely more existential. Some of de André's albums are much more political than this one.

Dude, that statement isn't racist, because if I make a joke about gay people to a gay friend who knows I'm joking, he knows damn well I'm just kidding, and I know you agree given the editorial story: that's the crux of the matter. If you make a joke or a provocation, you hope people won't come asking for justification for everything you say; some things you infer from what a person says, and in fact, I’m careful not to call you a racist! Another thing: my opinion, and only mine: to me, the raw guitars of CCCP are infinitely more valuable than the cleaner arrangements with violin and piano and the big group of CSI (who, by the way, are the exact same people). Passionate kisses, beautiful :D

Philosophers, especially modern ones (who also take psychology into account), do not want to mold man through reasoning: philosophy instead begins precisely with man and his flaws. They are not abstract speculations useful only for an ideal world: many tend to see philosophy this way, forgetting that the rules, conventions, values, and morals (which you also have) – and what makes something considered right or wrong – arise from this, and politics should always have a philosophical foundation, which seeks not only answers to classic existential questions, but is also necessary for the economy and simply for the survival of society.