Did we really deserve Andrea Scanzi to explain Paranoid Emilia to us?

Alberto Piccinini: I think we've already talked about it, but the CCCP meeting in Berlin left me pretty indifferent except for one detail: Andrea Scanzi. Yes, I know we shouldn't give it too much importance because then we're playing his game, we're fattening talk show egos and salary per episode, but since we don't talk about anything else in our boomer bubble, let's leave them Question aside and ask us: Lindo Ferretti (or whoever) called Andrea Scanzi because he knew who he was or, on the contrary, because he didn't know who he was? In the first case, the choice borders on embarrassment. If Ferretti prays for Giorgia in the morning and thinks in the evening that Scanzi is a good narrator of the 80s – half Gaber, half Tondelli – then I have to change my mind about several things. I had always considered CCCP (and CSI) on the level of the best Italian theater of those years: Raffaello Sanzio, Albe di Ravenna, the Santarcangelo festival, but going on stage with a helmet on your head is somewhere between Freak Antoni and Stormtroopers if it is OK. And then why did one more have to be added? explained To Paranoid Emilia? As Monicelli said to Nanni Moretti: Stand up and show us the CCCPs. The second case worries me more. The CCCP, who live in the mountains and still have a TV with a retractable antenna, call Scanzi because he is “the idiot who goes to Lilli Gruber,” as I think Ferretti said. Maybe he said it when he realized he'd messed up and tried to save himself by saying, “I'm not what you want me to be.” But anyone is capable of that. Those who attended the concert told me that what stood out most was Scanzi's complete loneliness backstage before and after the performance. And it worries me that he's pretty much cooked it up, starting with the terrible interview for the Completed, and now you tell this story not as a great qui pro quo, but as his triumph. I even heard him interviewed by my friends on Radio Tre Fahrenheit (which I cannot speak ill of) with the seriousness that befits witnessing a major cultural event, being seen as martyrs of the punks who arrived on cheap flights from the provinces, and perhaps even as survivors of the anti-vaccination movement. But then excuse the old quote, we deserve Scanzi.

Giovanni Robertini: Of course we deserve it! I tried to console myself by thinking that CCCP's decision to call Scanzi to the stage was an homage to the last bastion of mass punk, the talk show Rete 4 (although Giovanni Lindo apparently sees Gruber in La7, which is more likely something for sad singer-songwriters). ): Mosh pit, shouting, punches, broken cameras, fights and vegetable throwing, like a random episode of Mario Giordano. But unfortunately that's not the case, otherwise he would have been called a Borgonovo, a Belpietro, a Senaldi on stage, and the helmet wouldn't have been enough. The three days in Berlin were simply a festival of reducibility, funny if you take it like a gypsy trip with friends that ends with beer and bratwurst in Kreuzberg, nostalgia for the nostalgic (who are lucky) and definitely a great play by Gigi Proietti: “If he dies on stage, it is true that he does not really die.” Otherwise he would die so well? Do you understand what it's like? Do me a favor, if he really died, he couldn't die every night. In my own little way, I took part in a small side effect of this island of veterans by going to the Milan concert of Giorgio Canali, former sound engineer of CCCP and Litfiba, then guitarist of CSI and PGR and now rock singer of the 80s with his project soloist . I thought I'd find myself in front of an audience of graying baby boomers wearing Barricade T-shirts, but instead there were lots of thirty-year-olds. While queuing for a beer, I asked a young couple: “Why?” Why are you here?” and she tells me all about her guilt about being a Calabrian environmental engineer who studied in Turin and thought she was going to Milan come to work there to change the world for the better and now she has to work for an Israeli multinational to pay the mortgage. While Canali, the girl adds, is a pure rocker who lives on other people's sofas People are alive and shouting against fascists on stage. I left sadly in the rain, the concert was worse than my fault.

AP: Of course you blew me away with Proietti's quote. And besides Canali, don't forget the very interesting story of the first CCCP bassist Umberto Negri, excellently interviewed here RS. When I came over, I didn't like Kid Yugi's new album at all. The boy came from Massafra to Milan to join the trap squadron, the Thaurus of Sfera and Gue, counting a lot of money day and night while he even goes to the tobacco shop in a Lambo with the bitches on the spare tire and 100,000 under the seat, etc. etc. But I found him very undecided about what to do: whether to keep the character of an Albanian half-criminal (the best thing about it), even something from the old Salento, or throw himself netlessly into the pop style Friends in the evening. I found the love songs about love that doesn't exist, there's only money and sex, this kind of new, unfriendly love cliché (even though I'm absolutely not the target group) particularly frightening, a kringium half Baglioni, half Vasco Rossi, whose need I had thought had been lost. And then I tell you, the blessed naivety of quoting The Master and Daisy And Lord of the flies Like the boy at the last desk trying to impress the Italian teacher, I can't stand her anymore. The fact is, I don't even fully understand where these great quotes are. I would have understood the Agamben quote from your friend Kali Malone. Or, on the big topic of the relationship between culture and the street, the film of the moment: American fiction, fabulous comedy about the African-American writer divided between cultured (and true) books and “black” books full of stereotypes, weapons, divided families, lambos and bitches like Kid Yugi. It's not a film about political correctness, not at all (and I've already read that clickbait bullshit, ugh), on the contrary, it's a film about how wrong we are in thinking that everyone should stay in their place , so as not to disturb our senses too much. Kid Yugi in Massafra, Andrea Scanzi on TV, CCCP in the mountains or in Boomer memory. I know I'm contradicting myself, in fact the film as you saw it has three or four endings and everyone will have their favorite. Pamper yourself if you want.

GR: The best ending is always the death of the protagonist, a fake of course, says Proietti. However, in today's music we only have two endings: those who play the game and make money without caring about anything, even losing a little of their gangsta charm, as was the case with Kid Yugi, and those , who endure it badly and leave, like Sangiovanni and yesterday's news, Mr. Rain. I don't like any of them, they're dramas without happy endings, like the Ferragnez series. I would like the opportunity to have another beer with the couple I met at the Canali concert who fled Massafra to change the world, not for money and the Lambo. I would say to him: screw the multinational, another world is possible, I forgive you, Giorgio Canali, the rhetoric and even the camper shoes, but please keep screaming against the fascists. Not everything ages badly.

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