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I would also say that the best tracks of the cccp csi production have really nothing political about them, and if they do, it should be seen in a certain light; there is never anything gratuitously leftist: I would have liked them even if they had been right-wing. Emilia paranoica, Io sto bene, Stati di agitazione, U.n, Trafitto, Militanz, Manifesto have nothing propagandistic about them; there is a lot of discomfort, but Ferretti's critical attitude is already reflected in the disdain he held towards groups like the Sex Pistols.

Caz, Area were way more politically extremist than CCCP, who were never, despite the name, a fist-raising group (with the Csi they ultimately spoiled themselves, but in a musical sense). I still think that even the name fell within the "I'm not what you want me to be" perspective, a provocation: political naivety is truly a thousand miles away from Ferretti and the gang. Controversial at times, never predictable or banal in the context of 1968 utopia.

Fatur is "a bundle" (more like a terrifying idiot, although it's really hard to tell if he's acting or if that's just him). I visited his website and there are videos with interviews that are pure delirium.

In my opinion, those types of covers were "ugly" on purpose; it fits their way of presenting themselves: I’ve seen quite a few images from their artwork that were intentionally ugly or disturbing.

absolutely amazing. One of the very few groups to have the personality to create Italian rock in an original way without reverence towards foreign models. You may not agree with their political stance, but you cannot overlook Ferretti's personality, one of our greatest lyricists, surely the greatest in Italian rock. Apocalyptic, sarcastic, and angry. For me, *Emilia paranoica* is the ultimate masterpiece of Italian rock, deserving to stand alongside the great masterpieces of the new wave (though I prefer the rawer version of *ortodossia*). Also outstanding is *io sto bene*, the other epochal track of the album, which, beneath the guise of harmless danceability ("we really like confusing ideas, but we'd much prefer to make you dance, I guarantee it") hides one of the most ruthless descriptions of Italian youth. Our best rock band?

Okay, maybe I'm about to say the dumbest thing of the month, but I believe (and I emphasize believe) that those famous 15kHz are not obtained with a high note, nor with a normal voice or with a falsetto à la Child in Time, but with a little piece of paper or something else, I can't remember what "whistled"... corrections are welcome. The fact is that having everything from Area and Stratos, it seems to me that I've only heard those high notes there, so I suppose that famous recording can be traced back to there. But maybe it was done on some different occasion... Anyway, I didn’t want to get into the interpretation discussion either, and it’s clear that Stratos had voice control to spare, but in terms of dynamics (how cultured I am), and vocal improvisations I find Tim to be superior, but we would really have to get into a much longer discussion, so I leave it at 1-1 :D. Anyway, aside from Starsailor, which I think Stratos listened to a lot, Buckley's live "Dream Letter" is illuminating; I’ve heard great singers live hit a wrong note or have a “blowout,” including Demetrio, but he never did; a machine...

No, I was also talking about technique... always keeping in mind that we are discussing two monsters of voice. Tim also did that kind of yodeling that Demetrio, for example, did, along with all the other little tricks. It's just that (I know you’ll find this heretical, I know the story of the 15,000 Hz, but those high notes in singing are produced "cheating") Tim certainly had more range and especially more control, and as you teach me, power is nothing without control. Besides being more moving (sigh...), I’m not the one who says that Demetrio was colder. And then damn my sister, she always laughs when I play the white elephant, saying that Stratos says "covi fovte vagazzo covi la gentidiceseistatotu."

enough with these Marlene Kuntz, "I killed paranoia," what does that even mean? Come up with a Christian title that makes sense, something edible even for us regular folks who enjoy carbonara—not these intellectual things that should evoke something but don’t evoke a damn thing, bring us back Alan Ford.

Susie, I'm not a bully, but do your hormones go wild with Cremonini? And then, respond to what topics? To the fact that Cesare and Ballo are hot? But aren't we talking about music? If I express my opinion on the musical nothingness of Cremonini, pointing out the parody level of the review, am I inevitably weak and unstable, and a pompous idiot?