No, Andrea Scanzi, good Ligabue is only the "old" Mogul.
Ligabue? The new Mogul
The rocker has always Correggio Lucio Battisti wanted to emulate, but his repeating "the same piece," and his pursuit of the public identification of the recall in case Giulio Rapetti. As confirmed by the new songs written for Elisa and Fiorella Mannoia.
"It's true," Woody Allen once said. "I make the same film for a lifetime, but as long as no one will notice, go ahead." It's going forward. As Luciano Ligabue, King Midas.
not a piece that is a mistake, even if it's the same piece for fifteen years. His anthology, spread over one year, sold out of all proportion. Any unreleased rage on the radio, we are talking about Goodnight Italy , non-alcoholic accusations that on balance does not accuse anyone, or My thoughts , yet another ballad stanzas not free from squeaking ("knackered on Sunday afternoon / how others are doing to stand up").
This happened almost twenty years, perhaps, deserves some further thought. Like the "ggiovani" because it looks like him. Like the left (despite the winks to Beppe Grillo) he is good. Like men, that they can be reached. Like the women because he sings that they "know", suggesting that - by osmosis - he too is a repository of knowledge. One knowable never too thoughtful: low profile, the median life, conformism vociferous (but woe to talk about anything and everything). Ligabue is reassuring messages (a vague pessimism reassured by the final stanza), understood as a coherent career stagnation.
His dream is to be the new Baptists. The Divine Lucio, however, was a revolutionary musician, capable of in the hedonistic eighties sbertucciare appearance, taking refuge in that nowhere was that the association with Pasquale Panella. Ligabue the musician is subversive because it can be Veltroni. Its strong recognition - rare gift - is not in the notes but in the words. Ligabue Battisti is not new: the new Mogul. Mogol a feminist, he too anti-intellectual, as he filled topoi: Mogul in the "cherry trees and dragonflies in a meadow," in Ligabue "thighs and mosquitoes."
In both, taking Edmondo Berselli in Lyrics amused to lure the Great Mogul, "every act rises from the zero level of materiality to the level of mythology." Its (their) appearance "extends between the banal and the sublime, between the concrete and the abstract, between the cyclical and the epoch-making between the Fly and the Land Earth, whereas the Sacred and the Profane always interchangeable.
It is no coincidence that the first Elisa Fiorella Mannoia and then you are brought back to the Gran Liga. The new single of Mannoia is paradigmatic in this sense. On the one hand the man who knows women know (?), The other the woman who sings what women do not say enough to fall into a diabetic coma. In I can speak my mind men's all-Mogul Ligabue: friendship ("love my friends are / if you talk a little 'love'), general allusions to the contemporary (" a few days is much better). Up to the usual situations in the final stanza: "In front of a cup of milk / with a blanket of too much / just finished the night / I will invent something." Or: in search of pain alleviation (the cover too), the refuge land (the cup of milk). And a fuzzy confidence in the future: that "I will invent something" may not be the updated version of "Tomorrow is another day" Gone with the Wind ?
capacity mogoliana first and now no ligabue is so the ostentatious recurrence of themselves, because the ability to trigger the identification of the winding gear. If pursuing the metaphor and André De De Gregori Hermeticism, Ligabue is quite a happy beautifier of the obvious, a tireless writer of songs that would lead the public to say "this is what happened to me too." A (good) embroiderer's already said, with as Mogol capacity semimedianiche nell'intuire the movements of the costume. His song becomes instant song of everyday life: something easily assimilated recyclable.
Sure, the Gran Liga is too polite to celebrate itself as the Great Mogul. There is in him a quiet submission to the fairer sex, that distance from the rugged machismo of Mogul. Yet even her make-up cylinder is substantially filled with "little secrets", yet dazzling. It almost seems like the cylinder Walter Il Mago . What, when he made magic, not astonished anyone. But everybody pretended amazement, "that does not cost us anything to make him feel a star."
(Article taken from the online version of The Print )
Ligabue? The new Mogul
The rocker has always Correggio Lucio Battisti wanted to emulate, but his repeating "the same piece," and his pursuit of the public identification of the recall in case Giulio Rapetti. As confirmed by the new songs written for Elisa and Fiorella Mannoia.
"It's true," Woody Allen once said. "I make the same film for a lifetime, but as long as no one will notice, go ahead." It's going forward. As Luciano Ligabue, King Midas.
not a piece that is a mistake, even if it's the same piece for fifteen years. His anthology, spread over one year, sold out of all proportion. Any unreleased rage on the radio, we are talking about Goodnight Italy , non-alcoholic accusations that on balance does not accuse anyone, or My thoughts , yet another ballad stanzas not free from squeaking ("knackered on Sunday afternoon / how others are doing to stand up").
This happened almost twenty years, perhaps, deserves some further thought. Like the "ggiovani" because it looks like him. Like the left (despite the winks to Beppe Grillo) he is good. Like men, that they can be reached. Like the women because he sings that they "know", suggesting that - by osmosis - he too is a repository of knowledge. One knowable never too thoughtful: low profile, the median life, conformism vociferous (but woe to talk about anything and everything). Ligabue is reassuring messages (a vague pessimism reassured by the final stanza), understood as a coherent career stagnation.
His dream is to be the new Baptists. The Divine Lucio, however, was a revolutionary musician, capable of in the hedonistic eighties sbertucciare appearance, taking refuge in that nowhere was that the association with Pasquale Panella. Ligabue the musician is subversive because it can be Veltroni. Its strong recognition - rare gift - is not in the notes but in the words. Ligabue Battisti is not new: the new Mogul. Mogol a feminist, he too anti-intellectual, as he filled topoi: Mogul in the "cherry trees and dragonflies in a meadow," in Ligabue "thighs and mosquitoes."
In both, taking Edmondo Berselli in Lyrics amused to lure the Great Mogul, "every act rises from the zero level of materiality to the level of mythology." Its (their) appearance "extends between the banal and the sublime, between the concrete and the abstract, between the cyclical and the epoch-making between the Fly and the Land Earth, whereas the Sacred and the Profane always interchangeable.
It is no coincidence that the first Elisa Fiorella Mannoia and then you are brought back to the Gran Liga. The new single of Mannoia is paradigmatic in this sense. On the one hand the man who knows women know (?), The other the woman who sings what women do not say enough to fall into a diabetic coma. In I can speak my mind men's all-Mogul Ligabue: friendship ("love my friends are / if you talk a little 'love'), general allusions to the contemporary (" a few days is much better). Up to the usual situations in the final stanza: "In front of a cup of milk / with a blanket of too much / just finished the night / I will invent something." Or: in search of pain alleviation (the cover too), the refuge land (the cup of milk). And a fuzzy confidence in the future: that "I will invent something" may not be the updated version of "Tomorrow is another day" Gone with the Wind ?
capacity mogoliana first and now no ligabue is so the ostentatious recurrence of themselves, because the ability to trigger the identification of the winding gear. If pursuing the metaphor and André De De Gregori Hermeticism, Ligabue is quite a happy beautifier of the obvious, a tireless writer of songs that would lead the public to say "this is what happened to me too." A (good) embroiderer's already said, with as Mogol capacity semimedianiche nell'intuire the movements of the costume. His song becomes instant song of everyday life: something easily assimilated recyclable.
Sure, the Gran Liga is too polite to celebrate itself as the Great Mogul. There is in him a quiet submission to the fairer sex, that distance from the rugged machismo of Mogul. Yet even her make-up cylinder is substantially filled with "little secrets", yet dazzling. It almost seems like the cylinder Walter Il Mago . What, when he made magic, not astonished anyone. But everybody pretended amazement, "that does not cost us anything to make him feel a star."
(Article taken from the online version of The Print )
