ajejebrazorf

It's not a matter of being politically incorrect, because by definition something politically incorrect carries a certain dose of intelligence. Saying that "Sardinians" (as a category distinguished by being born on Sardinian soil, which is kind of like saying you can't stand desk owners or those who have a mole on their knee) annoys you is idiocy, which has nothing to do with being politically incorrect. But don't think I took offense because I'm Sardinian. I took offense because you can't use the expression "politically incorrect" to justify any kind of nonsense. For crying out loud.

The jackal, do you realize what you've written? An idiot whose tastes and choices almost never disappoint you: by transitive property, shouldn't you start worrying?

I only heard something in the Blow Up podcasts, and it seemed really BADASS and in great shape. I'll get it.

Don't you think you're being a bit cocky, Longliverock?

because obviously they are just little shitty movies, as much as Totò is good and nice and always makes you laugh.

and of course also Totò against Maciste...well, and if you give 5 to those because once again that tone of "where are we going to end up"?

5 to Toto of Arabia? And to Toto sexy?

I had written it wrong: I meant to say that I think it’s possible that you and De Gregorius are the same person. I still don’t understand what you mean by "formal transcendence," but whatever. What needed to be said has been said: Guccini has been, in terms of lyrics, one of the most gifted songwriters in our country (in my personal opinion, without making rankings, alongside De André, De Gregori, and Ferretti), and he has produced some of the best singer-songwriter albums released in Italy, even if perhaps, compared to the others, his albums are slightly penalized by more banal music overall (overall, you know). But for example, this one is just plain bad, period. It makes no sense to compare it with Tiziano Ferro or Gigi D'Alessio; compare it with the best albums coming out today, or especially compare it with his best albums and those of his colleagues (Gaber, Dalla, Battiato, Battisti, Conte could be added to those I mentioned before. And still Lolli, Daniele, the early Venditti, Fanigliulo, Gaetano, Vecchioni, Paoli, Giurato, Fossati, Testa, and many others) and tell me if it’s not fanatical to evaluate something like this concert at the amphitheater or a modest album like "Ritratti" the way you do.

I primarily listened to the "cadense". But what a formal transcendence ahò, speak like you eat, porca pupazza. What the hell are you saying, what the fuck does "formal transcendence" mean, it means nothing. Rhetorical figures are not used only by Guccini; there's no need for this sad little list. Music isn't judged this way (and if it were judged this way, you wouldn't go spouting nonsense about other singer-songwriters just to say that Guccini is cooler, that's how DeGregorius learns).

Look, I'll quote a line from The Simpsons: "But isn't 'paradigm' the word that idiots use to sound important?" Now, please don't make me think poorly of you; write in a human way and don't try to be unnecessarily pompous. I'm not saying this to act superior, but do it as a favor to yourself. "Ampolliosa" and "dimensione," by the way, aren't terms that exist in the Italian language, as far as I know. I don't even know what a "DC" is; I know the Christian Democracy party but I fear you might be alluding to something else. In any case, there is no "new aestheticism" or any new aesthetics in Guccini's latest albums. Sure, the recent albums, let's say from "Signora Bovary" and "Quello che non" onwards, are arranged with a bit more care than in the 70s, but the fact is that Guccini has artistically run out of things to say, and it shows. A Guccini who is vaguely more musically refined (compared to the very mediocre musician he used to be) but has nothing left to express doesn't make much sense.