Mopaga

I really appreciate emotional preambles in reviews. I don’t think they’re always possible, but when they are, it’s a sign that the work is somehow special for the writer (for better or for worse), so it’s only right to talk about it. That said, I must confess that your focus on your kilograms and those of your bag sparked an almost psychoanalytical curiosity in me...

media

Interesting proposal. As for the rest, I agree with kosmo.

@Defender1: I'm glad about what you write, even if I don't fully agree with the idea that there's no "movement" around Marco Carta. After all, money counts, and I believe quite a bit has circulated around him. Look, I don’t even wonder why "we" have remained immune to the brainwashing that the Italian public has undergone when it was decided from "above" that Marco Carta could and should break through because he is "handsome" (?), "good" (?!?!), and a winner of a successful program. I assure you that in my area, the effects of this "policy" are still tangible. Just think that I’m normally used to finding myself in the presence of fourth-category neomelodici (compared to whom Gigi D'Alessio becomes Nick Cave), and someone like Marco Carta would be a hit, as it would provide those crazed fans who wriggle for such idols an opportunity to hum a catchy tune in Italian that is neither beyond their cultural and intellectual reach nor particularly distant from their "value system." It would be practically a luxury. I was saying, it's great that a sort of conscientious objection has occurred in your area (it's safe to say); it's proof that despite the numbers, the rankings, and the exasperating media and promotional hype, there is always a small reassuring margin of relativity. After all, no matter how hard they try, it's really too much to expect their product to be liked unconditionally in every corner of the country, but I believe they can consider themselves more than satisfied with how the masses received it. The fact that Sgt. Paper's performance in Civitanova Marche was a flop is almost a victory for us, but for them, it's simply a minor incident of very little relevance (after all, it wasn’t exactly a flop at San Siro, was it?). Fortunately, despite all this, everything is relative.

If it helps you feel better, Saturday night I ended up with Alessandra Amoroso, of all people, her being the heir to the throne. Like you, I must have blocked out the reason I was there; I only remember that I was taking my usual afternoon nap, and when I woke up, I found myself near the stage, shaking off the drowsiness to the unmistakably representative "Stupida" :-) But the most unsettling thing is that while the small town hosting her has just over 1500 inhabitants (of which 1468 are over 75), there were about 2000 people in front of the stage aged between 15 years and 1 month and 15 years and 7 months. How on earth was that possible??

With the suction, I believe. Between us, I still hope I'm wrong...

Here comes the track by track when it’s not schematic and when the album and the review are of this level. Definitely right up my alley, for the music and the voice (especially). Too bad about the bad luck...

@Lostinspace: come on, it's not the first time, right? No worries, I’m all for tolerance, especially because I think if I were offended, it would be a waste of time explaining why. Might as well invite you to put down another 100, if you have the time and energy, of course, since my little report card is already ruined, damn you, damn... Oh, but in the end, did you reproduce?

I understand you, it's tough to reproduce...

You did very well to emphasize its impact live. Funny enough, I only have a live recording from ’86, containing more or less the same songs as this collection. It was worth filling the "debate" void, but I’m not voting for the album yet because it's been ages since I listened to that live version, and if it weren't for this recommendation, I might have even forgotten I had it.