aries

The G.F. is a program that at first could have been interesting to see how 10 unknown people interact with each other in a state of semi-isolation, even if even then the format gave rise to sheepish situations and questionable behaviors. The scenes revealed the result of a haphazard education and a poor emotional upbringing. But what was seen back then, compared to what came after, was child's play: year after year, to capture the audience, increasingly extreme situations were created, featuring ever less ordinary people, herding together "human cases," more and more often framed in a specific role. This latest edition is an exceedingly trivial soap opera with no traces of spontaneity, directed by that vile individual known as Alfonso Signorini. The system seems to be in crisis even as a placement office for young sprigs without skill or talent: by now, venues are paying less and less to host them, and it seems these lads will have to find a normal job (I can imagine a dialogue between one of them and a recruiter: "So, what skills do you have?" "Well, do you remember Big Brother 13? I was the one who set farts on fire with a Zippo..." "Great, we'll get back to you...").

Well... I'll wait to judge it. After the first three albums, which were quite interesting, he had somewhat lost his way, as if he had pushed too far, hitting rock bottom with "L'aiuola." "Cammina nel sole" was a nice song and the album was fairly decent, although quite ordinary.

I bow to your expertise, passion, and mastery.

Highest respect to a young man who revisits Leo Ferré, Endrigo, and Aznavour.

You didn't start off badly, but to contextualize everything runs the risk of defending the indefensible (for example, reasoning like this one might say: "Okay, Hitler massacred 6 million Jews and brought Germany to ruin, but he gave jobs to many people and he loved animals"); moreover, Berlusconi's dirtiness is proven not only by judicial facts but also by what he does in his private and political life. If he were just a businessman, my reaction might be limited to disgust; the problem is that this man is head of government, and honestly, I can't trust someone who has somehow stolen, does everything to avoid being prosecuted, and reasons with his gut. As for Travaglio, I believe he is one of the few journalists doing his job and letting the facts speak for themselves; furthermore, he has managed to avoid being instrumentalized, hitting hard even on the left (during the Unipol scandal, he collaborated with l'Unità, suffering an undignified lynching from several colleagues, perhaps prompted by D'Alema). Many others, out of fear or for their own benefit, prefer not to speak. The fact that the conversation always ends up back on Berlusconi is because he spares no expense: tax evasion, bribes, ties with various mafias and extremists, blending politics with private interests, not to mention personal ones...

I listen to anything else, but you make me laugh too much... I think the album is below average, especially since the cover wasn't censored :-)

I have a lot of respect for Berselli; I prefer '66, '67, and '69 over '68 :-)

Wonderful.

Nice excursus, but the last sentence is a hyperbole.

The Smurfs had come to my mind too. As for the judgment, I’m reminded of a scene from "Il secondo tragico Fantozzi." Fortunately, there are no directors forcing us to dye our faces and hands blue.