Singer-songwriters from Italy

"At the beginning of my career I was terrified of becoming a one-shot singer, from one song and away. Instead I managed to distract people from my so-called hits, like Fuori dal Tunnel for example, which for me are just songs."

"Those who only rap about content are often lacking in flow, they cannot express themselves freely either in terms of metrics or rhymes because they have to give a complete meaning to what they say, and in doing so they risk losing a lot of opportunities to come up with funny and interesting metrics which however have the flaw of not being functional to the discussion."

"From the tunnel, from every tunnel, one comes out trying to think with one's own head, not to be standardized and to be able to build an individual vision of the world."

"There are definitely some rappers who don't like me. This is clear. Even some musicians don't look favorably on me. It's a normal thing, if it were just out of empathy. It's not like that, but I don't actually care. I have never been influenced by anyone, not even by the expectations of the fans, let alone by my colleagues. There is ostracism against me. The biggest truth is that I have no interest in the opinion of the rap scene. Who cares, I say. I'll get out of it. All music is compared to cultural phenomena, even smooth music is, but I refuse that there is a sectoral and inelastic way of seeing music."

"It is always good to distinguish the word from the example: I am not a paladin. I express what I feel and what I care to communicate with the hope that my critical sense on certain issues can serve to support those who try to improve this society."

"You find a job, you lose it, you start over again, | your Via Crucis in a provincial capital. (from Alita gli aniComposed for the soundtrack of the film Viva l'Italia., 2012)"

"My nation leaves everyone breathless: | "Boss, Italy for the Italians!" | Italy breathes ani, Italy breathes ani. (from Alita gli ani, 2012)"

"With a strike you try to shake your head, | what does he actually do other than shake his head? (from Alita gli ani, 2012)"

"Your story is not that of a blackcap, | you don't get grades, but kicks in the face, Capoeira, | balancing on the rope from one end to the other, | subordinate, you pass from one end to the other. (from Alita gli ani, 2012)"

"I was in a small city park, | immersed in the chirping of a thousand birds, | cip cip cip cup and among a thousand distractions, | even the one inside the trousers can be felt, | stay calm and listen to this story, it's hilarious, | about what happened to me so as not to get it on myself. (from Tengo duro, n. 1)"

"If I hold on, something will be remedied, | in front of me a girl reads the "Divine Comedy", | but how do these people read in the tram, I don't know, | but I just know that I'll have to wait a bit but in the meantime. (from Tengo duro, n. 1)"

"I'm happy to let myself go away, | I buy kilos and kilos of lottery tickets | and I think of a rude man's journey, | with palm leaves waved by half-naked girls | to millions of millions | to dive into it like Scrooge McDuck. (from It Only Happens in Films, n. 2)"

"The miniskirt exalts you, | brings you to the limelight | and when it's short it makes you taller | heats up when the butt holds tight, | elegant on the butt that shakes | or by bicycle, | lying on the seat, | to make a massacre of hearts along the way. (from Women in miniskirts, n. 7)"

"The dream captures for hours and hours and hours, | sometimes it makes war, sometimes it makes love | and when you close your eyes you never know what happens, | goodbye to your life, see you tomorrow in the morning, | as calm as inside your pyjamas, | I hold my pillow like a child | who perhaps becomes a girl to me | or perhaps it reminds me of the stifled crying in the darkness of the cradle. (from E la notte se ne ne, n. 1)"

"How many times have I remained crouched, | that I felt like an abandoned dog, | I looked back and didn't see anyone anymore | and I took it out on fate | and right on the edge of the abyss | that I was only asking for help from myself, | I saw in the blackest night of mourning | a star that illuminated everything for me. (from My lucky star, n. 6)"

"Outside the rules music is rubbish, | challenge Caparezza only if you're up to it, "ah ha", | because if your free-style sobs | I already know that I will open you like a mussel | and your carriage, at half time, becomes a pumpkin again | and you have to go out with a wig, | better not to be recognized | in the family when it becomes a clan. (from Tutta flava e famiglia, n. 3)"

"While I reflect on my position, | here, sheltered, | under a black umbrella | which guards my silence like a monastery: | «I've learned not to trust you, | deceiving water, | I don't like your sound, | even if, for some this is music that travels, | for me it remains a damned rainy day." (from Damned rainy day, n. 4)"

"As in my sea of thoughts | of which I am shipwrecked in my serious moments, | I think of the rivers, who grow fat like pigs, | then they overflow, and the walls of the houses collapse, | under the lightning catastrophes of a few moments | which have the price of a life, | waiting for clear weather to come. (from Damned rainy day, n. 4)"

"My shoes are soaked, my bones too, | my fears echo like distant thunder. (from Damned Rainy Day, n. 4)"

"Here is the jewelry seller, | broke a beer bottle and made rings with it, | they cost as much as a panettone, | calling you is like competing to see who is the biggest idiot. (from Telemonnezza, n. 5)"

"My problems come out like mushrooms | they echo in my mind like a bongo solo, | they are muds that dirty me, grease me, immobilize me if | I go mad as in a check against the king, | even if I got out of it | I admit that I am attracted to it like a bee in a field of flowers, | like a drunkard among liquors, | they go up and down inside me like hotel elevators | and even if I went to the Seychelles | they would chase me, they would wait for me | at the gate like a dog when the cat is on the tree. (from Vivo in inquietudine, n. 11)"

"Caparezza in my opinion is the only main-stream artist who really makes a difference here in Italy and the fact of being his friend and precious collaborator for years makes me a satisfied and grateful person. (Diego Perrone)"

"You must always grasp the compelling absurdities that he says about Caparezza... some expressions that perhaps you cannot immediately understand what they mean, but of an almost enigmatic beauty, as if they were riddles at times... of the words that stand there to think but what is Caparezza saying? And then you realize that in the context it is linear, it is perfect. (Roberto Vecchioni)"

"And take a quick look at the news | and discover that in Japan a poodle marries his vet, | fuck! This Turi is truly legendary, | better than Capare...mmmhh but is it really necessary? (Turi)"

"I saw Caparezza overturn on his bike | after I broke his brakes with the root breaker. (Fabri Fibra)"

"In Italy I would like to collaborate with Caparezza, who is snubbed by the rap world, even if in my opinion he is one of the few who always manages to put content even in the most danceable pieces... (Shade)"

"«Is it okay to tarnish your country to sell records?» In a normal country he wouldn't sell any. (Gianfranco Rotondi:)"

"I don't have it against him, but I find it absurd that he is seen in a more intellectual way than me because he is long-haired and badly dressed and condemns politicians for things that even stones know. (Marracash)"

"For this reason the most convincing at the May Day Concert 2012 was Caparezza, a talented madman who expresses protest in an obliquely cheerful way. (Andrea Scanzi)"

"All the criticism that doesn't listen to us | if you act busy unless you are Caparezza. (Marracash)"

"If being the MC means being a bricklayer who builds | the calligraphic rhyme is as stylish as it is static, | practice practically absent of theory, | it's not my story, well yes, I'm not an MC, but so be it. (from The Hoe Shoe, n. 1)"

"The human race craves a fate that smacks of clinical death, | but he recites the usual cynical mimicry: | «Okay, that's it for today but tomorrow uou hou, uou hou!» (from But tomorrow uou hou, n. 8)"

"Easy to stay blind as an alley, | dumb f*cking puppet for my ventriloquist. (from Mea culpa, n. 2)"

"I strongly wanted to grow tired of madmen | to understand that I wasn't among them | but among the rebels. (from Mea culpa, n. 2)"

"I would like to know my language less than Biscardi, | criticize scrawl drawn by Sgarbi, | put hair under Barbie's armpits, | knowing that Wilma is having it out with Barnie, | who secretly Red Ronnie gorges himself on meat. ref>, n. 3)"

"Everything that is there, is already there. | So what happens in my pieces? | I will make the impossible possible | until reality is made possible. (from Everything there is, n. 3)"

"I would like to raise chalices like a perfect priest, | Marilyn Manson will be my altar boy. (from All There Is, n. 3)"

"Shout | thinking about jewels, waste, | these mothers attached to the rings more than Yuri Chechi, | they go to the hairdresser and don't make love so as not to ruin their hair | and dads blowjobs on the buttocks of Pirelli calendars. (from Mammamiamammà, n. 4)"

"All mothers in the world are beautiful, | you're right, | but they only have children if the seed tears the goldone, | it works when the baby is hungry | and moans, | feed the breast with silicone milk | and good breakfast. (from Mammamiamammà, n. 4)"

"Chat also because talking is more difficult! (from The original people, n. 5)"

"I don't smoke, I don't do drugs, I don't do drugs, I don't drink, | sometimes I think I'm the real alternative! (from The original people, n. 5)"

"I like normal people, who lead normal lives, | who has children to feed, bills to pay and doesn't even have time to shit. (from The original people, n. 5)"

"If conflict was the solution to my problems | I would always be in conflict. (from The conflict, n. 6)"

"If my woman shits missiles I repudiate her. (from The conflict, n. 6)"

"If they have humiliated you, insulted you, made you a cuckold... | Well, if they've pushed you to the limit, you stay silent! (from Fuck the violence, n. 7)"

"Take example from many great men, such as mahatma Gandhi, | by many non-violent who have become Saints. (from F*ck the violence, n. 7)"

"If the soul was born free then it cannot be calibrated. (from F*ck the violence, n. 7)"

"If there is someone who provokes you, don't fuel his fire, | It's of little use anyway and you'd be playing his game. (from F*ck the violence, n. 7)"

"The next is easy to hate, | if you are strong love him | that we are all the ones who commit massacres Capaci. (from Fuck the violence, n. 7)"

"A crumb of the good I want for you is enough to feed you, | I would like to comb your hair with my fingers, | I would like to tie you up | to a grain of sand like Fidenco', | in love with you because I have nothing to do like Tenco', | you know I like the breath of your nostrils, | when you sew me on | sweet kisses like scars. (from Ti clonerò, n. 8)"

"You're a hallucination, | the obsession | of each of my neurons, | if I don't have you near me I fall into depression, | I would be happy with you even if you were a clone, | in fact I think this is the solution. (from Ti clonerò, n. 8)"

"Let yourself clone my beloved, | if you were a phone card I would have collected you, | as an original | or as a pirate copy you sound good | and what concerts when we are together! (From I will clone you, n. 8)"

"There are those who want me crazy and those who madly hope that he will top career, | from evening to morning he gets stubborn, sticks needles into my doll! (From La fitta sassaiola dell'ingiuria, n. 9)"

"The water you throw on my fire becomes gasoline, | every insulting is manikin for my window. | Know that my doctrine | doesn't give a damn about who is after and who before. (from La densssaiola dell'ingiuria, n. 9)"

"I like that it hail on my face | the thick pear of the iniuria, | the handle just to feel alive | to the shell of my hair. (from La fitta sassaiola dell'ingiuria, n. 9)"

"There is a shortage of walls used for memory, | pure vanad, it hurts like a tooth that cays | my weakness for the victims of history; | they hated them, humiliated them, left them to fate | to court them after death. (from La putta sassaiola dell'ingiuria, n. 9)"

"[...] I obey every judgment, | I have reflection as a vice, | my end is to make every end a good beginning. (from La stunta stssaiola dell'ingiuria, n. 9)"

"I'm satiated with a dictionary varied more than the saints of the calendar! (From La thick sassaiola of the insult, n. 9)"

"I like to know myself different, | perverse pleasure that I pour in verses on scattered sheets, | in the paragraphs of the days lost in my remorse. (from La stta sassaiola dell'ingiuria, n. 9)"

"Who tampers with the tits of the sculpture | ignores its love and care. (from La thick sassaiola dell'ingiuria, n. 9)"

"I have not changed, | the heart and the thoughts are the same | on the magnificent carpet of the verses | I want to tell you something that touches you. (from La densssaiola dell'ingiuria, n. 9)"

"Sti quindicenni have malaria, | the lazy face, they already use Viagra, | in the festival of fools the fools are many, | thick flocks of dead goths statev' accuorti! | They preach death, they want death, death in spade, | if you like death explain ... what do you not kill yourself? (From Chi c*zzo me lo, n. 10)"

"Leave me just like Rita Pavone | if you go to see the football game | because I don' | Slogans thugs who know of fascist ances, | on 'stles are fans mixed with terrorists, | you want to be sad if the murder escapes, | this caciara gives me an intense sense of annoyance. | Hooligans and swastika perfect combination, | I would put that pole straight in your ass with the Scudetto, | too many Ultrà peasants without names have armed hands, | as Antoine said those throw you stones., n. 10)"

"I want to be among men of great faith, | among those who see, among those who believe in it, | only among men of great faith, | because the designs of the wise men are in vain."

"If this is not a reminder it will be an embroidery on the soul, | wine to be watered down with a tear, | physical dwells for now because I merit it, | further on you will see where my spirit will dwell, | following a proverbial motto: | 'better to do good than to do nothing wrong. (from Men 12)"

"I give you my place: it is not to win that I live but to burn, | so if I have to lose let me lose and I will have lost, | aware that I am neither worse nor better than anyone as long as I am different. (from Walk alone, n. 13)"

"Italians good people, Italians with a heart of gold, | the Italy is a republic founded on the work | of saints, poets, mafia and navigators | but everyone would like Montessori in their fingers. (from Il secondo me, n. 1)"

"English professors who do not learn another language, | English will never have to change currency, | English will always drive on the wrong side | that's why those who go to London I know they come back a little changed. (from The second me, n. 1)"

"They say that the Arabs write to the contrary, | Mohamed said that I write in reverse, | so everything right reveals its opposite | and if not you agree I feel sorry for you! (From The second second to me , n. 1)"

"When there was him the trains left on time, | when he was there they deported us on time, | when he was there we weren't there | that if we were there we would have been pale. (from The second opinion of me , n. 1)"

"Then vote for me and you'll see, I'll find you a job, | vote for me and you'll see that you won't get hurt, | vote for me and you'll see, from tomorrow I'll love you, | son, once here it was all electoral campaign. (from The second according to 1)"

"Do you want to be a singer? You will need a pust! | Do you want to be a councilor? You'll need a boost! | Do you want to make a career? You'll need a boost! | On the edge of a ravine I would need a boost! (From The second second to me , n. 1)"

"I'm not married, let's say I live together. | I'm not unemployed, let's say I'm studying. | I'm not a delinquent, let's say I'll make do. | Let's say let's say let's say a lot of bullshit! (From The second second to me , n. 1)"

"Don't look Devilman you become violent! | Don't read Spiderman, you get violent! | Don't listen to Method Man, you get violent! | Imagine what it's like to stay one day in parliament... (from The second in my opinion , n. 1)"

"Politicians no no no are no longer what they used to be | the women no no no they are no longer those of the past | I no no no no no I'm no longer what they used to be | only the rhetoric has remained the same! (From The second second to me , n. 1)"

"I have my balls full of it | rather I don't go out, | in the herd I stay | only if I'm the German shepherd. (from No breed, n. 2)"

"Assums tity that as suppositions | if he puts them in his ass. (from No race, n. 2)"

"The situation is delusional, | it's like the naia where | the more he had power the more was ignorant. (from No race, n. 2)"

"If I talk about bullshit everyone says it's nice, | if I make controversy they are slaughter meat. | For heaven's sake, much better the platitudes, | "talking about emotions", this is the motto. (from The Law of the nettle, n. 3)"

"I don't give a fuck about poetry, | I myself was born for a condom that broke. (from The Law of Nettle, n. 3)"

"When I drop the text, what do you want me to tell you? | There is no taste if it does not irritate. (from The Law of the Hives, n. 3)"

"But love what is it? | It is a concept that means everything and nothing, | from the obvious love of the man in love | to love in the broad sense for people. (from The Law of the nettle, n. 3)"

"I like those who croak, | those who crippled what they play, | the singer with the good voice | go to the monastery, | in the choir of the clergy. (from The law of nettle, n. 3)"

"Bacco, | you guide this insane man who fell at the hands of a female, | I insist, since the weather has predicted clouds of fog on my retina. | Here you toast and do not skimp | even if you give | a bad image of yourself, | after yet another sip assimilated for you! (From Sango and Drunken, n. 4)"

"Politicians who play actors, | guys who have their parents for work? | Uè! They have all gone crazy, | they convinced them that they will all be entrepreneurs ... (from Sango e Srunkzo, n. 4)"

"Here, | comes the bad and persuasive oc, | a proud liar who knows how to say only what people want to hear, | I do not touch his sago, | I am a deaf sorce to the piper. the entry The Pied Piper of Hamelin"

"The wine makes bad jokes | but I drink it on behalf of third parties and suffer. (from Sango e Srunkzo, n. 4)"

"I don't care, another fiasco and I'll fall asleep peacefully | and when I wake up I know I won't see what I saw being lusted, | for you. (from Stinguishing and Drunk, n. 4)"

"Lure laugh but the situation is tragic for those who are convinced that knitting is magical, none | logic saves me, you know, I'm a fucking nostalgic, I'll never recover. (from Limits, n. 5)"

"I come from the moon | that the sky crosses you | and I find inappropriate | fear | for a different culture. (from I come from the Moon, n. 6)"

"He wants to put me under 'sto signorotto | who boasts of the saint | attached to the dashboard, | did not understand that I am willing | to stay under | only when I fuck . (from I come from the Moon , n. 6)"

""Go back to your country, you're different!" | "Impossible, I'm from the universe! | The route I lost, | what do you want me to tell you | you were born here | because here a cunt gave birth to you". (from I come from the Moon, n. 6)"

"I am not black, | I am not white, | I am not active, | I am not tired, | I am not from any nation. | I do. I come from the Moon. (from I come from the Moon, n. 6)"

"You have it with me | why do I fuck your work, | fuck your car, | or do I fuck the girl under the moon? | What do you want it to be then | it's not my fault | if your last name woman does | Pompilio as Numa! (From I come from the Moon , n. 6)"

"Keep the earth, man, I want the moon! (From I come from the Moon , n. 6)"

"Warm in the house | in front of your television, | the truth | of your mentality | is that fiction is better | than real life. (from I come from the Moon, n. 6)"

"I am the untore | and when it gets dark | cue like a mushroom, | ungo where I come from, | I stay guard in my ramingo wander, | who wants to send me to shit must shout: | 'Give to the greaser! (From Give him to the unifier , n. 7)"

"Cinica figure in the dark night, | dirty the doors, I bring the death, | who cares, | if they catch me they smash me with a beating, | at least you find me clicked on Rotten! (from Dagli to the untore, n. 7)"

"I'm out of the tunnel | of fun, | I'm out of the tunnel | of fun, | when I leave home and I get bored | I'm very happy. | When I leave the house and get bored | I'm much happier. (from Out of the tunnel, n. 8)"

"Of you spending salaries, | crammed into stupendous places | between asses on cubes, | succubi of horrendous beats, | brandy juices and you lie down. (from Out of the tunnel, n. 8)"

"Being a friend of Baldan Bembo, | they are a silence | that can become music The friend is something that the more there is, | it is a silence that wants to become music"

"I like the cinema | and a lot, | that's why they call me old. (from Out of the tunnel, n. 8)"

"I have a second-hand Tipo | that works for me as a pub, as a disco and as a sofa, | I'm here, like a lark this is my branch. (from Out of the tunnel, n. 8)"

"Immune to the trash | of the costume TV | in flight without feathers | in a volume of comics | under the light | there is no comparison. (from Out of the tunnel, n. 8)"

"You live on memories, | gentlemen, and games, | of sincere hugs, | of kisses and fires, | of all moments, | sad and funny, | and not of moments | sadly funny. (from Out of the tunnel, n. 8)"

"Bush?! Saddam?! Arafat?! Sharon?! | (Mah...) The new Benetton collection... (Yuhuuu!) | I wish you an electrifying life, | electrocuted by the current of a hair dryer! (From Juuda me, n. 9)"

"Reality down from me is a virtual reality and how, | I have the distinct feeling that everything dissolves into a soap bubble... (from Juuda me, n. 9)"

"They call it emancipation | that of getting the lamps in the South. (from Juuda me, n. 9)"

"I'm up in the South which is on me | and in the South I'm succubus. (from Juuda me, n. 9)"

"How is it that a fact on the steps is just a fact | and on a stage is it always cool? (From In the land of fools, n. 10)"

"You, | stingy more than a brand store, | go to the gallows, | you know more of bullshit than a Turkish. (from In the land of fools, n. 10)"

"Lucignolo, | you have the name of a stoppino, | you are a saw, | I'm a puppet, | don't be close to me, | damn. (from In the land of fools, n. 10)"

"Parodiing any talk-show Her dad abandoned her that she was three years old to marry a transsexual; does anyone want to have his say? (From The age of the extras, n. 11)"

"What a nice broadcast, | it precisely resembles | the brown mush, | of my chiappone | after breakfast. | But where is the modesty | of these people, | paid to give an opinion, | drugged by television. (from The Age of the Extras , n. 11)"

"Accustomed to a TV on that seems to us to be off, | it weighs people who are satisfied from home | and do not fall asleep, but gas, | comments, | and follow carefully ' this havoc while the share increases! (From The age of the extras, n. 11)"

"Because in life the one who figures wins, | will make steps of giants who figures, | we can all do it, | welcome in the age of the figures! | Because in life the figure who wins, | will make steps like giants who figure, | puts it in everyone's ass, | welcome to the age of the figures! (From The age of the extras, n. 11)"

"In the TV lounges | foolish extras do more | ratings than many cultured programs, | so much so that many have removed them giving power to stands of judges. (from The age of the extras, n. 11)"

"Poor God brought up by men, | macché religion, are matters of economy! | These little men minimize roars of bolidi, | they always make their pigs comfortable . (from Preferential follies , n. 12)"

"Dear Country of good pretensions ask me | if I see you as a friend or as an enemy, | you like to make peace but then explain to me | 'this missiles whistling in the air like a theremin. (from Preferential follies, n. 12)"

"I prefer to kill the time, | I prefer to shoot bullshit, | I prefer to blow up a fashion, | I prefer to die of love, | I prefer to charge the alarm clock, | I prefer to bet on roulette, | I prefer the fire of a goal, | I prefer you to stay alive."

"Men | pay tribute of | nostalgia for eras that have never lived. | The flag, the greeting, | either with us or be mute, | this is the third millennium, | welcome! (From Preferential follies, n. 12)"

"I am Caparezza! | I'm from the garbage! | I'll crush you on the pillow | like a gth | on a windshield! | I am Caparezza! | Far from a caress! | You can't kill me | because I live in you, | you live in me! (From Dualisms , n. 13)"

"I've been in therapy for days: | "Hello doctor, | I need cures for schizophrenia, | I see ghosts with all the crismi in my house, | they told me that it's all the result of fantasy", | yes, | they are right, | but the question, is that tonight the vision gave me with"

"I don't do show, | I give a show like | my grandfather drunk on the day of my communion. | So out of melon | that I have relatives not at all happy | to carry my own last name. | Leave me the presumption | to feel manure | sometimes hard, sometimes sewage. (from Jodellavitanonhocapitouncazzo, n. 14)"

"I'm happy in the fece, | I should cry and instead... (from Jodellavitanonhocapitouncazzo, n. 14)"

"Stzzo da schifo, | I drink to sbafo, | escaped my fate as a clandestine in a hull. (from Jodellavitanonhocapitouncazzo, n. 14)"

"I'm sure I get fed up, | I swear on every tuft, | I should play the trumpet for how many times I puff, | if I dive into one of my ideas | I find myself in apnea | in a flood of diarrhea, | I find it funny. (from Jodellavitanonhocapitouncazzo 14)"

"I am alive, but I don't live because I breathe, | I feel alive only if I take off the stylus and write. (from Jodellavitanonhocapitouncazzo, n. 14)"

"The only certainty is that I end up badly: | CapaRezza dies, everyone at the funeral. | It's paradoxical, | but I don't come, I don't care. | (From Jodellavitanonhocapitouncazzo, n. 14)"

"On Out of the tunnel The message of criticism of the decerebrate fun and at all costs seemed clear to me. And instead you could hear it everywhere, it was the soundtrack of trendy bars, it was the ringtone of every mobile phone."

"On the S suppository Truths record I gave more space to musicians and moved away from rap stereotypes to follow a more personal path. (Caparezza, Mental sagas)"

"I don't frieze with a coffin that gives me | esteem and good name in the cathedral and in the mosque, | I don't like the bara Versace I like the plebean coffin, | mine the idea of shopping at IKEA. (from Announce me to the public, n. 2)"

"Announce me to the public | first of immediately with expression of jubilation. | Announce me to the public | although I doubt that everyone will follow me... | down to the underworld, up with souls, | down follow me, down, more and more. (from Announce me to the public, n. 2)"

"I don't find the hustle and bustle, | when I take a seat I don't swallow, but disgust, | in bed I don't put it with the torso and not the whip, | I don't stare at the abyss like Cousteau, | nor the space like Houston, | (From Torna catalessi, n. 3)"

"The future is like a little one with bushes | who with chalks draws circles around the casings, | girding corpses with liberty-style traits | if you reproach him you will have to die, you are not Misery. (from Torna catalessi, n. 3)"

"Buy everything the spot said, | bet on roulette, if the slot is not enough for you, | play the lot your BOTs, take the yacht to port, | find a fucking sponsor and a horrible mascot. (from Torna Catalessi, n. 3)"

"The spider knows well that you go to the farm with cards | signed by predees glued to the canvases, he knows how to do it, | the wasp grants him the hive: "Have faith, | things are about to change!" Vaneggia. (from The insects of the farm, n. 4)"

"Come and see, come on, come and see | the wonderful insects of the farm; | and if you bend down, but you can't see, | all normal, they got into your butt. (from The insects of the farm, n. 4)"

"And the grilli, shiny idyll singers, | muted by purifying insecticides. (from The insects of the farm, n. 4)"

"Extraordinary edition of the "Podere della sera"! | Black saw cries for the warrior bee, | fired in the trunk the termite despairs, | centipede kick ass at the border, | the mite laughs because the world is a powder keg. (from The insects of the farm, n. 4)"

"I am the toro with a great size, | but I miss the words, | like yeti you think I'm abominable | because you see me precipitating, | but it's just the disposition | with which fairy tales paint me. (from On the side of the bull, n. 5)"

"The torero who knows it is the authoritative, | he behaves with me like an honorable, | he wants to impose his rules on me, | for fame he would also kill the offspring, | of the bullfight he believes the Hercules | well, you give up your sword and take me to wave. (from From the side of the 5)"

"Already that I'm a earth sign | I leave you on the ground with a sign. (from On the side of the bull, n. 5)"

"The life is reprehensible | because it makes the joy of the culprit | and I who wanted it enchanting, | like rain I fall from the clouds. (from On the side of the bull, n. 5)"

"Now there are too many bulls outside the fence | with beltd head like Moreno and Hillary Clinton. (from On the side of the bull, n. 5)"

"Open your eyes baby, be careful baby, | don't fear the black man, don't fear the wolf man, | don't fear the gloomy man, just fear the cunning man. | He is a tutor he takes everything he can. (from Ninna nanna di Mazzarò, n. 6)"

"Baby'Baby, lullaby, Mazzarò is coming. | Stay awake that otherwise, take away what you can. | Lullaby, lullaby no, Mazzarò is coming. | Stay awake that otherwise, take away what you can. (from Ninna nanna di Mazzarò, n. 6)"

"On the canvas your entire life with a prologue: | your mother opening her legs to the gynecologist. (from The Silence of the Guilty, n. 7)"

"Speak, the truth is there you don't have to deny it. | Speak, whoever closes the hole does not stay afloat. | Speak, from your mouth free the fall | like a butterfly that soars from the calla. | Speak, mutisms are inlistenable. | Speak, mors have weak rudders. | Speak, use endless terms. | Speak, because the silence is of the culprits. (from The Silence of the Guilty, n. 7)"

"The silence is golden and you sell it to the worst bidders. (from The Silence of the Guilty, n. 7)"

"Make an opinion | or you will end up like the facts of metadone. (from The Silence of the Guilty, n. 7)"

"Who tace is subject to the will of loquacious, | you drink bullshit like the war of peace. (from The Silence of the Guilty, n. 7)"

"I have amletic doubts typical of solds: | to be or not to be pathetic? (From My intolerant part, n. 9)"

"I don't live on a ball, I don't talk about pussy, | I don't wear good clothes | so I'm out of any discussion! (From My intolerant part, n. 9)"

"I study in a class of fighters excited by red blood cells | they weren't even Bela Lugosi. (from My Intolerant Part, n. 9)"

"At severeen years old the options are two: since you either become pushing | or you become like me, that I'm weak, | that I have no rules, that I have demodé stuff, | that I hate the cliché of man | who must never ask, | since if you don't ask you don't know. (from My intolerant part, n. 9)"

"Better depressed than assholes like 'I don't give a fuck', | why don't they say 'I'm interested'? | Let a cypress be buggered, therefore, | so much my destiny is to be alone with anyone. (from My intolerant part, n. 9)"

"Ambrace the rifle, prepare the cannon, | defend the green from the golden curls. | Eject the negròn, inforca the terròn, | and serve your people with shining love. (from [Innins from the Songs|Inno]] Verdano, n. 10)"

"Now I understand how right he was, | now that I am a state soldier without the south, | now that the toilet paper is over, | but it doesn't matter, I put the constitution in it anyway. (from Inno Verdano, n. 10)"

"The Verdano people are eager | for the separation from Italy that tears apart. | And if the wall falls in Germany who cares | I raise it in Verdania since... (from Inno Verdano, n. 10)"

"I want to wave with emotion | a tricolor without white or red. | I want to praise the exalted deputy, | who wants the immigrant humiliated and beaten. (from Inno Verdano, n. 10)"

"It's none of my business if it doesn't add up, | if politics is sick and thieving, | I'm going down the street, but be careful, | only if you touch my team! (from Epocalypse, n. 11)"

"I want the calendar of a naked and bent over actress, | John Cena's photo. | I want a trans in a bikini | in my rum and cocaine parties. (from Epocalypse, n. 11)"

"I live in a Masonic family, | than in comparison the members of P2 of Gelli | they look like those of Catholic Action. (from The Auditels Family, n. 13)"

"Setting a net will be humiliating | for Boris Becker not for us, | secrets like the mirror by Nanni Loy | but famous like Leroy', | heroes like Brad Pitt in "Troy", | we fill the graves more than hindsight." (from The Auditels Family, n. 13)"

"We have a plan with a cornerstone: | turn shopping recommendations into an order, | sinking quality programs | because the intelligent user knows himself | who doesn't like advertising. (from The Auditels Family, n. 13)"

"They will vanish as per the command of the ubi maior' | "Sciuscià", "Il Fatto", "Satyricon" and "Raiot". | No hornet's nest will arise! (from The Auditels Family, n. 13)"

"You have tons of problems, but you entrust them to astrologers, | you are interested in other people's dicks like andrologists. (from The Auditels Family, n. 13)"

"You don't vote in politics, | but you complain if the conditions are critical | yet you televote the Island of Egypt's famous | convinced that you have exercised your right. (from The Auditels Family, n. 13)"

"Follow the Weapon in a thousand fiction as a playwright, | if the caramba stops you ask for the autograph. (from The Auditels Family, n. 13)"

"On TV there is more soccer | than in a cure for osteoporosis. (from The Auditels Family, n. 13)"

"Good morning viewer, | this is a TG that puts you in a good mood, | crimes out there but here we talk for hours | of beaches in Rimini and streams of sweat. (from Ti Giri, n. 14)"

"If you look around you will understand that gunshots | on the Bari seafront | there is no trace in the news programs of Mediaset and Rai. | I don't feel like telling you this, | but I'll count the hairs on Prince Charles' asshole. (from Ti Giri n. 14)"

"W the TG of lies, | with hidden news like whores in the sewers, | a marshal who makes the parrot on the yellow of Cogne, | but on Ustica, no, he doesn't want to have trouble! (From Ti Giri, n. 14)"

"I don't like talking about war, | too bold, | I prefer to talk about peacekeepers | offering buns to Afghan families | from their tanks made of marzipan. | All do-gooders that go to hell | if the cameras go out on inhuman conditions | of children bitten by hunger | in their villages bombed for weeks. (from Ti Giri n. 14)"

"She began that she has a strange speech | that would make unhealthy | the calm of the Dalai Lama, | perdiana! (From Felici ma trimoni, n. 16)"

"Mirror, mirror of my cravings, | I'm the model who gives it to the realm, | I haven't touched food in weeks, | I want a cake with aspartame! (From Felici ma trimoni, n. 16)"

"I fell in love with you because my dick | had nothing to do but now I stop. (from I'm too constipated, n. 18)"

"I'm too stipation to be an asshole... | Feel it! You see it! (From I'm too constipated, n. 18)"

"Love think about it, I will lift you from the fears of hypochondria | stuffing yourself with psychotropic drugs, trust 'this chemical doughs, | they give them to you doctors who go on vacation to the Tropics. (from I'm too constipated, 18)"

"You and I will fly together in flesh and blood, | but I will be the flesh and you will be the bones for the pit. (from I'm too constipated, n. 18)"

"Nuntio Vobis Gaudium Magnum: Habemus Capa! (From Habemus Capa, n. 19)"

"I sifting terms and I don't end if I go arm in arm, | but is it me or the one I'm pretending to be? (From Habemus Capa, n. 19)"

"It is the record I am most fond of, because it took over a year of work and allowed me to continue on an even more personal path, identified by some as a new way to the singer-songwriter. (Caparezza, Mental sagas)"

"Habemus Capa is my most political record, therefore a suicide. The whole concept of the album develops from the last sentence of the previous record: "Mom, how many records will they sell if I spend myself!" (Caparezza, Mental sagas)"

"This song Announce me to the audience reveals the meaning of the whole album Habemus Capa. Caparezza is dead and through his corpse he observes his surroundings and pours it into verse. He will never speak in the following songs, but he will make someone else speak for him, possessing his body. (Caparezza, Mental sagas)"

"God's name is Zappa Frank Vincent. (from La rivoluzione del Sessintutto, n. 1)"

"The fricchettoni wanted to change the world, | those of my world want to watch porn | of reduced newsstands and expose more sterns | of the fleets in the port of Livorno . (from La rivoluzione del Sessintutto , n. 1)"

"Schoolchildren, are forced so | that the Pierino of Vitali | is an aristocratic figure. (from La rivoluzione del Sessintutto, n. 1)"

"There's a new sign at the sex shop: | 'You're going to pay dearly, you're going to pay for everything! (From La rivoluzione del Sessintutto, n. 1)"

"The plague of modern man | is to spend the nights with eyes on the screen | to become adult with a click on 'Confermo. (from La rivoluzione del Sessintutto, n. 1)"

"The idea of making a career doesn't touch it. | She doesn't suck coke at the Flora hotel. | In the parties of the Christian Democrats | if you have an illness you go down the plunge. | He does not go with the deputies, | he does not do the lolita, | he does not have the standard of living standards in life. | He invites me to challenging ties | like Tenco and Dalida, Radamés and Aida! (From Ulisse (You listen), n. 2)"

"Brother do you know what a pocket is? | It is a tub in which it meers, | in which every sin is programmed more than Pascal. (from Don't put your hands in your pockets, n. 3)"

"You are an unhealthy pocket bearer, | it suits you | confess | who with his hands in his pockets | you want to protest. (from Don't put your hands in your pockets, n. 3)"

"We excommunicated in the name of God | a book by Dan Brown | on the Priory of Sion | giving the start | to an era of putting to death | from Crozza to Andrea Rivera, | passing through Harry Potter. (from Don't put your hands in your pockets, n. 3)"

"There's jail | for those who carry pockets | because there is no control in the pockets! (from Don't put your hands in your pockets, n. 3)"

"From that moment on, whoever carries a pocket | or is an artist | or a drug addict | or both like Basquiat. (from Don't put your hands in your pockets, n. 3)"

"People who just need to be contrary like bastian | to give himself more airs than Bach Sebastian composed. (from Don't put your hands in your pockets, n. 3)"

"This is why you were arrested, | you believe in the tale of the free pocket | in the free stratum. (from Don't put your hands in your pockets, n. 3)"

"In nome Libertatis vincula edificamus. | In nome veritatis mendacia efferimus. (from Don't put your hands in your pockets, n. 3)"

"The years of lead, | the massacres, the kidnappings... but no! | I'm not interested in topics like these. | Me from those times | I just want to remember | "The high school student in the repeating class"."

"Ilaria from life wants more, | at least a friend of Tim-Tribù, | dumps crazy and stupid emu frogs. | She puts her tits on Badoo. (from Ilaria condizionata, n. 5)"

"Where is the air? | Where is he now? | They saw her at the procession in the shirt of Che. | He was Yelling: | "No! At your mercy" | while swallowing Nestlé chocolate. (from Ilarian air conditioning, no. 5)"

"With his hair straight at the live of the Misfits. | With the bullet-strick at the live of Fifty. (from Ilaria condizionata, n. 5)"

"Great works that begin | but will never end. (from The Great Work, n. 6)"

"More than the building hobby | I have the building lobby, | breaking the law like a bobby who serves you. | I take everything but people minimize | because I roll papers that are not called Rizla. (from The great work , n. 6)"

"It's a journey inside my head. This is the most painful album of my career. It comes after seven albums and is the result of a feeling of anguish and amazement, the same one you feel when moving inside the interactive forest that we created. Entering a forest and not knowing where you are going is strange, it is possible to enjoy the most beautiful situations, but also the bad ones. I think that this journey, similar to a video game, can help the public understand the project: it's like when you order a wine at a restaurant, if someone explains it to you it immediately takes on more value. (Caparezza)"

"EXUVIA, in short, is what remains of the body of some insects after having developed a formal change. A perfect cast, so precise in detail that it seems like a sculpture, a kind of transparent case that once housed the life and which now sits there, motionless, a simulacrum of a phase that has now been overcome. On the cover there is a symbol that represents the passage from a current condition (large circle) to a future one (small circle) through a series of spirals (symbol of death and rebirth in most cultures). My EXUVIA is therefore a personal rite of passage in 14 songs, the path of a fugitive who escapes from the imprisonment of times gone by to let himself be swallowed up by a forest in which to lose your tracks.From a post on the official Instagram page, 31 March 2021.</ ref> (Caparezza)"

"[...] I don't really care how Exuvia will be received. Really. However, it matters a lot to me that people perceive the commitment that went into doing it, the commitment that I put into it. Because if taste is subjective, and it is, other things are not. And I can tell you that I could talk to you for hours, really hours, about every single sentence contained in this record; I went back to the lyrics a thousand times before finding the definitive version. In short, I don't care if you like this album, but you have to recognize the commitment behind it. Yes, this is what I ask of you, I demand this a little. (Caparezza)"

"What a beautiful day (C.E.2011)"

"Artists united for Abruzzo"

"But don't think about me anymore, | I told you to aim: | love breaks the heart. | Shoot! Shoot! Shoot, Love! | Don't think about it anymore, | what do you want to wait for? | Love breaks the heart. | Shoot! Shoot! Shoot, straight here. (from Spaccacuori, n. 2)"

"I know who I am | even though I haven't read Freud. | I know what I'm like | but I can't loosen up | and that's why I'm here | and you are miles away, | that you will sleep with who knows who | now there. (from Spaccacuori, n. 2)"

"Too cerebral to understand | that you can feel good | without complicating the bread. | A nice little word is spread on it | empty but dubbed. | Eat soap bubbles around the world | and when I sleep it cuts the kite well. | Take away my reason and let me dream, | let me dream in peace! (from Giudizi universali, n. 1)"

"Like Mastroianni years ago, | how voice guides advertising, | there were some intense moments | but I've already lost them. (from Universal Judgements, n. 1)"

"Let's pull the rug out | and then let's put on some skates | to slide better over hatred. | Control tower, help | I'm running out of air in the tank. (from Universal Judgements, n. 1)"

"I could, but I don't want to trust you, | I don't know you and deep down there isn't any | in what you say something you think, | you are just a copy of a thousand summaries. | Light, light the flame bathes, | the wax remains and you are no longer there... (from Giudizi universali, n. 1)"

"Memory lapses, | there is no place to hold together | all the episodes of a story. | Very small detail | I lost you without malice. (from Giudizi universali, n. 1)"

"In America you know that the crocodiles | do they come out of the shower? | And that information meteo | are they taken verbatim from the Bible? (from Crocodiles, n. 2)"

"But on the bridge between Messina and Reggio | coin-operated workers are designed by Sony, | they gave the mafia a Tamagochi in exchange | and the national monopoly | of the video game sector! (from Che vita!, n. 1)"

"That life! | Pietro Mennea and Sara Simeoni | they are rivals in the elections. (from What a life!, n. 1)"

"If you want to be right, you're right | to continue with your instinct | but don't change direction, | keep going straight...(from Let it go, n. 1)"

"The non-voting teller | is indifferent to politics, | he is very keen to say oh hoist! | but then he doesn't get out of the car; | he's like a practicing atheist, | sitting in church on Sunday, | he settles down a little to the side, | to disagree with the sermon...(from The non-voting scrutineer, n. 4)"

"Always change the title so as not to decide, | you don't put a period so as not to finish, | as you walk barefoot through the mess, | I envelop you in my coils. (from A delirious poem, n. 6)"

"The solitude is not a deal breaker, | makes you believe you are saving | and instead it is nothing but a waste of useless seasons | and years gone by in front of the calendar... | and the fault is mine alone... (from Come due donkeys, n. 8)"

"The scar | is always beautiful that he will remind me that I was happy. (from April Fool, n. 2)"

"I hope to have | a time when I can ignore you | like a folder above the monitor, | left untitled, | deleting you doesn't come to mind: | I would certainly regret it endlessly. (from Waltz in Space, n. 8)"

"It takes a lot of courage to roll down | in a cowardly context that no longer moves | and to keep calm now | so as not to feel like a lost ball. (from Un balloon, n. 1)"

"Sometimes I am afraid of you more than of loneliness. (from Psycho, n. 2)"

"Lucio Dalla"

"(About Rino Gaetano) I believe that in the category, let's say, "songwriters" he was the most anomalous compared to the rule."

"I have always had a great passion for Naples, for its culture, from writing to philosophy to songs: it is a city that has always captured me."

"(About Rino Gaetano) he was hitchhiking with his guitar over his shoulder and I gave him a lift to Rome where he was looking for a contract. He made me preview his songs and I took him to Vincenzo Micocci who then launched him."

"The beauty of Totò is the beauty of Naples. Naples, it's easy to say, looks like a city, but it's not, it's a nation, it's a republic. [...] The admiration I have for the Neapolitan people comes precisely from this love for Totò. [...] Naples is the mystery of life, good and evil are confused, however they pulsate. [...] I was influenced by the existence of Totò in all forms, for me he was a myth."

"Christian faith is my only fixed point, it is the only certainty I have."

"Things don't just change with the squares, they also start with individuals, for example by reading books. But you have to be intellectually free. Instead, even today, when I said that I consider Julius Evola an artist worthy of interest, I caused scandal in certain left-wing press, in a prejudiced and superficial way."

"When they talk to me about beauty, Naples comes to mind as the first image."

"If today you hear the songs broadcast by the first five-six networks, they are always those songs that circulate... The curious thing is that even today, very often you hear the songs of Gaetano."

"A unique place in the world. [...] How can I not remember when I came to Matera with Francesco De Gregori, in July 2010. The concert was postponed due to rain and I took the opportunity with Francesco to get to know her closely and recover her in her memory. It was an important day because I discovered up close the uniqueness of Matera, a miracle of time, of a happy harmony between history and contemporaneity."

"He Says he was a handsome man and came, | he came from the sea, | he spoke another language, | but he knew how to love | and that day he took my mother | on a beautiful meadow, | the sweetest hour before being killed. (from 4/3/1943, side B, n. 3)"

"So she was left alone in the room, | the room on the port | with the only dress | shorter every day. | And although she didn't know the name | nor the country | she waited for me like a gift of love | from the first month. (from 4/3/1943, side B, n. 3)"

"She was turning sixteen | that day my mother, | the tavern verses | she sang her the lullaby. | And holding me to her chest that she knew, | she smelled of the sea, | she played at being a woman | with the baby to be swaddled. (from 4/3/1943, side B, n. 3)"

"And maybe it was for fun | or maybe for love | that she wanted to call me | like Our Lord. | The memory of his short life, | the biggest memory | it's all in this name | that I carry with me. (from 4/3/1943, side B, n. 3)"

"And even now I play cards | and I drink wine | for the people of the port | My name is Baby Jesus. (from 4/3/1943, side B, n. 3)"

"Saints who pay for my lunch there are none | on the benches in Piazza Grande, | but when I am hungry for merchants like me there are none here. || I sleep on the grass and have many friends around me, | the lovers in Piazza Grande, | I know everything about their troubles, about their loves, whether wrong or not. (from Piazza Grande)"

"I don't have a real family | and my home is Piazza Grande, | to those who believe me I take love and love I give, as much as I have. || With me there are no generous women, | I steal love in Piazza Grande, | and thank goodness there aren't any bandits like me here. (from Piazza Grande)"

"In my own way I would need caresses too, | I need to pray to God, | but I will never change my life, | in my own way, I wanted what I am." (from Piazza Grande)"

"I don't have white sheets to cover ourselves | under the stars in Piazza Grande | and if life has no dreams I have them and I give them to you. || And if there are no more people like me | I want to die in Piazza Grande, | among the cats who have no owner like me around me. (from Piazza Grande)"

"A dove marked with blood | flies from the heart and falls to the ground | the girl with hair | shakes the dust of the stone | then carried away by her memory | runs in the fields of Volterra | red sheaves and white sea | while the day blazes and the fire | Evening falls, warriors fight | [...] | People killed, cities burned | dull, forgotten memories | only the blessed days shine | of life that lasts a morning | winter is snow, summer is sun (from The little girl, n. 8)"

"Nuvolari is short in stature, | Nuvolari is below normal, | Nuvolari has fifty kilos of bones, | Nuvolari has an exceptional body, | Nuvolari has hands like claws, | Nuvolari has a talisman against evils, | his gaze is that of a hawk for his children, | his muscles are exceptional muscles! | The birds in the air lose their wings when Nuvolari passes! | Does Nuvolari scare you when he runs? | Because the engine is ferocious as it roars across the plain. (from Nuvolari, side A, n. 3)"

"When Nuvolari runs, when Nuvolari passes, | people arrive in droves and lie down on the lawns, | when Nuvolari runs, when Nuvolari passes, | people wait for his arrival for hours and hours | and finally when he hears the noise | he jumps up and waves, | shouts words of love to him | and watches it disappear | as a soldier on horseback looks, | on horseback in the April sky! (from Nuvolari, side A, n. 3)"

"Nuvolari is brown in colour, | Nuvolari has the sharp mask, | Nuvolari always keeps his mouth shut, | he doesn't care about dying, | he runs if it rains, he runs in the sun, | three plus three is always seven for him, | with the red Alfa he does what he wants, | inside the fire of a hundred arrows! (from Nuvolari, side A, n. 3)"

"The engine of 2000 will be nice and shiny, | it will be fast and silent, it will be a delicate engine, | it will have a calibrated exhaust and a non-polluting smell... | A boy or girl will be able to breathe it. [...] But following our knowledge | no one yet knows what it will be like, what it will do in reality the boy of 2000, | this is because no one knows. (from Il motori del 2000, side B, n. 2)"

"But the exceptional feat, believe me, is to be normal. (from Desperate erotic stomp, side B, n. 1)"

"Walking around a little further I met | one who was lost, | I told him that in the center of Bologna | not a single child is lost, | he looks at me with a slightly distorted face | and he tells me 'I'm from Berlin. (from Desperate erotic stomp, B-side, no. 1)"

"Anna as many are, touchy Anna, | Anna beautiful look, | look that every day | loses something, | if she closes her eyes she knows it, | suburban star, | Anna with her friends, | Anna who would like to leave. (from Anna and Marco, side B, n. 1)"

"And the moon is a ball | and the sky is a billiard | how many stars in pinball machines | there are more than a billion, | Marco inside a bar | he doesn't know what he will do, | then there is someone who finds a motorbike, | you can go to the city. (from Anna and Marco, side B, n. 1)"

"Anna would have liked to die, | Marco wanted to go far away, | has anyone seen them fly | holding hands. (from Anna and Marco, side B, n. 1)"

"Dear friend, I'm writing to you, so I can distract myself a bit | and since you are very far away, I will write to you more strongly. | There's been some big news since you left, | the old year is over now | but something is still wrong here. (from The Year to Come, side B, n. 5)"

"We don't go out much in the evening, including when it's a holiday | and there are those who have placed sandbags near the window. | And we go without speaking for weeks at a time and to those who have nothing to say | some time remains., side B, n. 5)"

"But the television said that the new year | will bring a transformation | and we are all already waiting | it will be three times Christmas and celebration all day, | every Christ will come down from the cross | even the birds will return. | There will be food and light all year round, | even the mute will be able to speak | while the deaf already do it. (from The Year to Come, side B, n. 5)"

"And we will make love, each as he pleases | even priests will be able to marry | but only at a certain age. | And without major disturbances someone will disappear | perhaps they will be the ones who are too smart | and idiots of all ages. (from The Year to Come, side B, n. 5)"

"See, dear friend, what I write to you and tell you | and how happy I am | to be here right now | see, see, see, see, | you see, dear friend, what must be invented | to be able to laugh about it | to continue to hope. | And if this year passed in an instant, | see my friend, | how it becomes important | that in this moment I too am there. (from The Year to Come, side B, n. 5)"

"The year that is coming | in a year it will pass, | I'm getting ready: | this is the news. (from The Year to Come, side B, n. 5)"

"Take the sky with your hands | flies higher than airplanes | do not stop. | The years are few, perhaps they are only days | and they are all finishing in a hurry | there is not one who returns. (from Balla balla ballerina, side A, n. 1)"

"What's in front of me, I can't talk anymore | tell me what you like, I can't understand | where would you like to go | do you want to go to sleep. (from Cara, side B, n. 2)"

"How much hair do you have, | you can't count, | move the bottle, | let yourself be watched | if you can trust so much hair. (from Cara, side B, n. 2)"

"I know a place in my heart | where the wind always blows | for your few years | and for mine who are one hundred | and there is nothing to understand | just sit and listen. | Because I wrote a song for every repentance | and I have to be careful not to fall into the wine | or end up inside your eyes | if you come closer to me... (from Cara, side B, n. 2)"

"The night has its own scent and you can fall into it, | that no one sees you | but for someone like me, poor guy, who wanted to take you by the hand | and fall into a bed | how sad, how nostalgic | Don't look yourself in the eye and tell yourself another lie. | At least I hadn't met you | I'm dying here and you're eating ice cream. (from Cara, side B, n. 2)"

"Who knows, who knows tomorrow | what will we get our hands on, | if we can still count the waves of the sea | and raise your head. | Don't be so serious, | stay. (from Futura, side B, n. 4)"

"He will be born and will not be afraid of our son | and who knows what he will be like tomorrow, | on which roads he will walk, | what will he have in his hands, his hands, | he will move and be able to fly, | he will swim on a star, | how beautiful you are | and if she is a female she will be called | Future. || Her name said this night | it's already scary, | she will be different, beautiful as a star | it will be you in miniature. (from Futura, side B, n. 4)"

"If I were an angel | who knows what I would do | tall, blond, invisible | how beautiful I would be | and what courage would I have. (from If I were an angel, n. 1)"

"I know that angels are millions of millions | and that you do not see them in the heavens but among men | they are the poorest and the loneliest | those caught in the nets. (from If I were an angel, n. 1)"

"Here where the sea glitters | and the wind blows strong | on an old terrace | in front of the gulf of Sorrento | a man hugs a girl | after she had cried | then he clears his throat | and the singing begins again. (from Caruso, n. 1)"

"Te I love you assaje | but you know very, very well, | it's a chain now | that dissolves the blood in your veins you know. (from Caruso, n. 1)"

"He saw the lights in the middle of the sea | he thought of the nights there in America | but they were only the lamps | and the white trail of a propeller. | He felt the pain in the music | he got up from the piano | but when he saw the moon come out of a cloud | Even death seemed sweeter to him. | He looked into the girl's eyes, | those green eyes like the sea, | suddenly a tear came out | and he thought he was drowning. (from Caruso, n. 1)"

"Power of lyrical opera where every drama is a fake, | that with a little makeup and | with mimicry you can become someone else, | but two eyes that look at you, so close and true | they make you forget the words, they confuse your thoughts. (from Caruso, n. 1)"

"So everything becomes small | even the nights there in America | you turn around and see your life | like the wake of a propeller. | But yes, it's life that ends, | but he didn't think about it that much, | in fact he already felt happy | and he began his song again. (from Caruso, n. 1)"

"There is a small house like this | with many colored windows | and a little woman like this | with two big eyes to look at. | And there's a little man like this | who always comes back late from work | and he has a small hat like this | with a dream to realize inside | and the more he thinks about it | he can't wait anymore. (from Beware of the Wolf , n. 1)"

"My love you don't have to worry | this life is a chain | sometimes it hurts a little. | Look how calm I am | even if through the woods | with the help of the good Lord | always watching out for the wolf. (from Beware the Wolf, n. 1)"

"There's a small meadow like this over there | with a great noise of cicadas | and a sweet and small perfume like this | my love summer has arrived | my love, summer has arrived. | And the two of us lying here making love | in the midst of this sea of ​​cicadas | this little love like this | but so big that I feel like I'm flying | and the more I think about it, the more I can't wait. (from Beware of the Wolf, n. 1)"

"I would like to get inside the wires of a radio | and fly over the roofs of the cities, | meet dialect expressions, | mix with the smell of coffee, | stop on the noses of old people while they read the newspapers | and with the dust of dreams fly and fly | in the cool of the stars, even further away. (from Le rondini, n. 4)"

"I would like to circle the sky like the swallows | and every now and then I stop here and there, | to have a nest under the roofs in the cool of the porticoes | and like them when it is evening close your eyes with simplicity. (from Le rondini, n. 4)"

"I would like to follow every beat of my heart | to understand what happens inside and what moves it, | where does this strange pain come from every now and then, | I would like to understand, in short, what love, | is where you take, where you give. (from Le rondini, n. 4)"

"My name is Ayrton and I'm a driver | and I run fast on my way | even if it is no longer the same road | even if it is no longer the same. (from Ayrton, n. 1)"

"I don't know how to expect much more, | every minute gives me | the instinct to sew time | and to bring you this way, | I have a mattress of words | written especially for you | and I would tell you turn off the light | that the sky exists. (from Canzone, n. 2)"

"Hard-headed, turnip-headed | I would like to love you here too | in the toilet of a nightclub | or on top of a bar table. | Or being naked in the middle of the field | to feel the wind on you | I don't ask for much more | even if I die I'm happy. (from Canzone, n. 2)"

"Stay away from her | she doesn't live, | stay without her | she kills me. (from Canzone, n. 2)"

"Song, look for it if you can, | tell her that she never loses me | Go through the streets among the people, | really tell him. (from Canzone, n. 2)"

"I my eyes from your eyes | I would never remove them, | now I actually eat them | you don't know anyway. | Eyes of the sea without rocks | the sea crashes on me | that I have always only made mistakes | but what is a mistake? (from Canzone, n. 2)"

"And the rain is like tears | reminds me of her face, | I see it in every drop | that falls on my jacket. (from Canzone, n. 2)"

"I would like to be the dress you will wear | the lipstick you will use | I would like to dream of you like I have never dreamed of you | I meet you on the street and I become sad | because then I think you will leave. (from You are never enough for me, n. 3)"

"I would like to be the water of the shower you take | the sheets of the bed where you will sleep | the burger on Saturday night that you will eat... that you will eat | I would like to be the engine of your car | so suddenly you will turn me on. (from You are never enough for me, n. 3)"

"You, you are never enough for me | it's really never enough for me | you, you my sweet land | where I have never been. (from Tu non mi basti mai, n. 3)"

"I have to talk to you like I never do | I want to dream of you like I never dream of you | be the ring you will wear | the beach where you will walk | the mirror that looks at you if you look at it, you will look. | I would like to be the bird you caress | I would never fly from your hands. (from Tu non mi basti mai, n. 3)"

"I would like to be the grave when you die | and where you will live | the sky under which you will sleep. | So we will never leave each other | not even if I die and you know it. (from Tu non mi basti mai, n. 3)"

"Dancing dancing | I'm never tired | I move instinctively yeah. (from Ballando ballando, n. 5)"

"The bow of the boat cuts the sea in two | but the sea comes together and always remains the same | and between a Greek, a Norman, a Byzantine | I still remained Sicilian. (from Siciliano, n. 2)"

"But if the light goes down, my heart stays there, | if there is a thought that lights it up it is looking for Monday. (from Monday, n. 8)"

"It is an inevitable psychic gap, a feeling of embarrassment, a taste of systematic cheating: a homosexual who has not been publicly declared and therefore doesn't give a damn about Catholic sexual morality, who has never expressed anything against the clerical-based homophobia that plagues his country , who never once took an open position for the trampled rights of his fellow citizens of political, civil and racial misfortune, a guy like that who, for example, writes and sings his love for a woman comes first (due to mediocrity of character, deliberate hypocrisy, love of a quiet life at the expense of those who fight for his own rights which he first denied) of the beauty or ugliness of his dedication improperly set to music. You don't see the homage to women, you see the ridiculous falsity and the aesthetic necessity for third parties that underlies it."

"I'm angry, I'm furious about this matter of Dalla and his funeral. We began and continued with a hypocritical delivery of silence regarding Marco Alemanno. There was talk of a bosom friend, a main collaborator... Marco was simply Dalla's companion, I often met them at the newsstand in Porta San Vitale, they didn't flaunt anything but they didn't hide anything. Lucia is absolutely right. If Dalla had married Marco in New York or Oslo or Madrid, as many Bolognese couples have done, she would never have had a funeral in San Petronio, a symbolic church owned by the Municipality but managed by the Bolognese Curia."

"It's hard for me to talk about him, every corner of Bologna that I go around, there is a memory of him there. He thinks that the last thing he did was Sanremo, he didn't want it, I almost blackmailed him. And after 15 days he died."

"It bothered me to see how many testimonies focused on who he remembered rather than on Lucio. Me, me, me... That me, protagonist at all costs, beyond good taste, beyond shame, basking, in the warmth of the bright spotlight. But there was, more than ever, only one protagonist. Now, I hope, the "memories" will fade away and his music will continue to be powerful, aristocratic and popular."

"If I close my eyes I am reminded of Sanremo 1971. I am reminded of a gentleman with a beard, namely Lucio Dalla, who sings "4 March 1943". That song struck me a lot, also because I was born in March, so the song had a great fascination in me, as a child. A song that gave me a great thrill and it is no coincidence that I wanted it in the promos of the Festival."

"Samuele Bersani"

"Bologna maintains mysteries and has its own very metaphysical atmosphere despite being an earthly city. I think it is a city that lends itself very well to noir also because all the of porticoes on one side protect you from the sun and rain but also risk taking away the sky, the horizon, they are suffocating, claustrophobic protective. The Certosa, the cemetery, is the most open place in Bologna, from there you see everything, the plain, the hills. Even Lord Byron passing through Bologna said that the Certosa was the most open place in Bologna."

"My approach to the noir genre is always existential, I carry out investigations into feelings. For this reason I am also addressing readers who do not like detective stories in the strict sense, because blood is not abundant in my books, and the mere conflict between good and evil, crime and solving the crime, do not interest me. I prefer to move between the shadows, the chiaroscuro, talk about anxieties, observe society through what I call "a cold reflection on feelings". But in the end, beyond genres, all books should tell a mystery, investigate what Dostoevsky called "the mystery man". And the greatest mystery is love [...]."

"women are not afraid to admit their weaknesses: we always play with our cards exposed."

"I know mature women, with multiple degrees, who take continuous injections of botulinum. Another own goal. The more society wants us to be young and desirable, the more we acclimatise to a market demand where looking our best is a guarantee of "being loved". What a mistake... But I put a lot of trust in male intelligence, the kind that chooses companions of the same age, that prefers personality (charm) to a smoothness (whether fake or authentic) without character. In ancient times, streets were called "wrinkles". Isn't it wonderful? In this image there is all the crossing, the transit, of those who have walked, generation after generation, on the earth. And the sweetness of growing old like the alleys and stones of a city that has seen a lot..."

"There are normalities, rules, harmonies that you don't even notice, it's obvious that they are there. [...] It is the exception, the upheaval of the usual that makes you anxious, gets on your nerves, unravels your soul. (from The bookseller of Selinunte, Einaudi, Turin, 2004)"

"Do you think I'm just here to fiddle? Absolutely no. I arrive from the airport, I enter the city and there are practically 400 people out of 200 without helmets and in all places there are three rows of cars in the middle of the road and it is difficult to pass. This means that you have not understood what the meaning of existence with others is. You don't know, you don't know. There's no point in hiding behind the fact that you have the most beautiful sea in the world. That's not enough, you're an island of shit. I don't love Sicily which ruins its intelligence and its culture, which when I go to see Selinunte, Segesta there is no one there. I don't love this Sicily that is thrown away.From the meeting Merchants of light. Narrating the beauty between fathers and children; quoted in Salvo Intravaia, Vecchioni: Sicily "island of shit". The mayor of Palermo: "he is right" , Repubblica.it , 3 December 2015. </ Ref>"

"Of Caparezza you must always grasp the stringent absurdities that he says... some expressions that perhaps you cannot immediately understand what they mean, but of an almost enigmatic beauty, as if they were riddles at times... words you're standing there thinking but what is Caparezza saying? And then you realize that in the context it is linear, it is perfect."

"And perhaps I dreamed that all humanity resembled Sicily. As an old romantic, deluded professor of ancient Greek, but life is not like that today. Life is that if you say shit that means I love you, they don't understand you and above all the pusillanimous ones and the mafiosi don't understand you."

"I have Sicilian grandparents from Messina. Ten years ago I said to myself: now I'm going to see my Sicily. And I was moved by the sea, Selinunte, the mountain of Segesta, the immense sunny plains, the baroque, the Arabic. I returned to the hotel in the evening and squinted with emotion. And then I went down to the beaches and saw them degraded by dilapidated hotels, tourism that didn't have the slightest idea of ​​those natural paradises."

"The musical group is Yorum. It doesn't matter if they were good or not. They were singing a type of civil protest whose tones weren't even that bright, because if they had exaggerated, there in Turkey, perhaps they would have died sooner. They sang words that we are used to hearing from De Gregori, Guccini, even Celentano. They talked about dreams and the desire to live together, they talked about equality, brotherhood, stuff that with the exception of CasaPound, even our right pretends to believe. […] These three guys went on hunger strike for months and months, because without the soul of the body they couldn't care less. No one from the great West showed up. […] The last, Ibrahim Gökçek, died saying "they had left us only our bodies to fight"."

"The bookseller read the words without imposing them on listening, because the words are not born, were not born in that author, to favor, capture, indulge, maneuver the emotions of the public at will, cramming them into the cage of a single feel. The bookseller returned the words to themselves. (from The bookseller of Selinunte)"

"I will seek my son Arrigo in the afterdeath life."

"[On the phrases pronounced a few days earlier on Sicily] Mine were not phrases said with hatred, they did not contain any feeling of racism, I spoke out of love: things must be said , there is no point in hiding behind alibis, behind an amazing sea. Here there really is intelligence, culture and beauty at the highest levels, but as soon as I got off the plane I found myself trapped in infernal traffic, in incredible chaos. I felt anger."

"The Inter is spirituality, it is a way of living, of being. An extraordinary historical adventure: defeats, Pyrrhic victories, randomness, it's always a village Saturday. The Inter player is genetically programmed to defeat, we don't know how to manage victory."

"Many are born poor, many are beautiful, strong, loyal; few (and yet there are) know how to create the field themselves and then score, but only he, Adriano, is a force of nature, "that" force of nature."

"It is never possible that the most beautiful nature in the world is left to chance and culture, the highest intelligence in the world dissolves into laziness, lack of respect for others, disorder, despondency: a culture as immense as that Sicilian deserves a civilization that is on its equals. And here's the point: Sicily is a shitty island if it doesn't rebel. Not Sicily is an island of shit. He is if he doesn't rebel. From this profession of love the media have extrapolated only the most squalid point of hatred."

"[On Fabrizio De André] This is the point: he was the only poet of songwriting. The others, myself included, with the exception perhaps of Guccini, are good, not poets. And his lyrics are the only ones that hold up even without music. [...] It is absolutely not for everyone. His was a cultural elitism. He had the body and mind of a poet. He didn't need to put himself in an ivory tower: he was born in that tower."

"I wouldn't write Samarkand today. I don't believe in destiny at all, I believe in human will and freedom."

"The Italian, will soon be the most beautiful of the dead languages."

"All this sea of ​​song of art needs not only the spectacular moment (stage, exhibition, reproduction) but also codification, interpretation, exegetical insertion into culture."

"The Italian of the past runs the risk of becoming an aesthetic object that quickly runs out when approaching reality."

"Words are not breath, evanescence, convention. Words are "things". Nothing exists if it has no name, because we are the ones who make the world exist."

"Words are things in constant dramatic transformation and a mirror of our struggle in search of light."

"In this song we talk about universal love, for all things and for creation."

"Young people must fight for culture."

"I believe that everything that happens in the world, even what seems apparently inexplicable, is a millimeter of God's yardstick."

"I feel God inside me very strongly. I would say that apart from some skirmishes today I am in a good moment with Him."

"I believe that God works behind the scenes, never impeding the freedom of human beings, never forcing anyone to do things against their will."

"faith does not make us waterproof, but it is a good shield, a good help."

"True faith is that which knows doubt, which seeks answers."

"I have studded my life, my publications, my records, with words addressed to God, with doubts, as can be seen in songs like "Blu moon", "What kind of God is there in the sky"," Tommy.""

"I believe that beyond everything there is a wonderful plan in life that we almost never understand, because we usually consider the carpet on the side of the knots, not on the right side."

"There is no desire to be first in the world, to excel in the arts as well as in science and technology."

"Today we discovered technology. But are we the masters or his servants?"

"This must give the school: the meaning, the meaning. Not only Humanism, that is, being used or simply helped by science, but also Humanism, that is, understanding the meaning, having the purpose."

"We need to start over and do school, do it hard, with exams in September, meritocracy."

"Boys have to work hard. Just pet them, kick their ass from an early age."

"Making sacrifices is a great key word."

"I am Catholic, but as a boy going to Mass, in my opinion, was a waste of time. Then I realized that this was the place."

"If your child comes home and says they are upset, don't believe them, there are no teachers who upset them."

"I would ask the school first of all to teach what is beautiful, to spread harmony, to explain the meaning of values."

"[You go to school] To become a person."

"The Gaber of the end of the Seventies knows two essential things. One: artistic life should not be thrown away. Two: the song isn't just something you sing in three minutes. It must enter into a discourse, into a dialogue that takes on even more live. Gaber understood that the song is not just an object to be sold, and since it brings people into people's homes it should be experienced together with these people. In a suitable place. And from these assumptions comes the bringing of the song to theatre, his greatest discovery. [...] Giorgio gives lightning importance to the words and concepts that he expresses with them. The music, although spot on, almost only dresses them up. What matters is the word, which becomes magical the moment fifteen hundred people are united in a theater listening to it."

"For Gaber "reality is further ahead". It starts from contradictions, from internal contradictions that no one, or almost no one, usually underlines. His testimony therefore becomes first self-criticism, and then criticism of society. A much broader denunciation is made, and in fact Gaber will be able to continue it into the Eighties and Nineties. Moreover, the idea - fundamental even today - that we "believe" we are free while in fact we are "farmed chickens", could not have come from the political song à la Guccini nor from the anger of a Vasco. It could only come to an intellectual of song like Giorgio. The second pillar of the intellectualism of Italian song. The other is Fabrizio De André, who however made a more abstract argument. Gaber, on the other hand, specialized in reality, towards which he was ferocious, but never nihilist."

"The true songwriter song is a synthesis of existence, said in an overall simple way. Because although some songs seem convoluted and difficult, two readings are always enough to understand them. Furthermore, the true songwriting does not want to propagate absolute truths, but paths, yes."

"Gaber was simple and clear, he didn't shout truth but proposed ways. Also reporting the importance of pain, the need in life to overcome difficult trials. All things that the novels give us, and yet in a more direct way today they come to us precisely from the songs of the author. The quickest way to enter the contemporary. Which has always been Giorgio Gaber's aim: to sing the illogical joy of living reality."

"Lights at San Siro that evening | what's strange we've all been there, | do you remember the game in the fog? (from Luci a San Siro)"

"My Milan take me away, it's so cold, | I'm disgusted and I can't take it anymore, | let's make a change, take it | that little bit of money that little bit of celebrity | but give me back my six hundred, | my twenties and a girl you know | Milan sorry I was joking, | they won't turn on any more lights at San Siro. (from Luci a San Siro)"

"How nice to have two talents, you only have to give back twenty; you just try to get a hundred and God is on your toes with the bill. (from Through the Eye of a Needle)"

"He who has won is there who vomits his wine | and what ultimately matters is the intestine. (from Aiace)"

"And you take out half the camp, hundreds and hundreds of heads fly apart, only to take an inventory and then see that they are not your judges, they are oxen. (from Ajax)"

"And Marco Polo cheated them: | doge, wife, turkish, ideas, | he left Chioggia and arrived | no further down than Bari, | no further down than Bari, | then he said "I saw magical orientations", | but at least he had had some imagination; | the Venetians applauding | only envy and hypocrisy. (from Song for Laura)"

"The poets are old gentlemen | that eat the stars | lying on the meadows | of their villas, | and they invent gypsies and blackberries | to make oneself credible in the eyes of the world | with their pain. (from The Poets)"

"Anger once marked her | only the locomotive | thrown a stone on the road; | now it's market day | poets emerge in clusters | all the islands have found. (from Song for Francesco, n. 2, Side B)"

"And they shot the singer-songwriter Francesco De Gregori | on a night of youth, | they shot him out of love, | so he doesn't sing anymore. | They shot him because he was handsome | remember it as it was before | alternative, self-reduced | outside the system's perspective. (from Vaudeville (Last Cannibal World), n. 3, Side A)"

"There I also met an old bard, Homer who blinded himself to stay in the dream. (from The Last Show, n. 3, Side B)"

"But you didn't talk to me | and my ideas like lizards | they withdrew their heads | inside the wall, when it's late | because it is cold, because it is dark: | and a thousand solitudes | and the holes to hide... (from The Last Show, n. 3, Side B)"

"And the dawn on the Danube seemed to Marco to be phosphorus and honey | and a blonde girl perhaps wanted to tell him | that man is great, man is alive, man is not war | but the generals reply that man is wine he fights well and dies better only when he is full. (from Stranamore (this too is love), Side A, nº 1)"

"And the greatest conquered nation after nation | and when he was in front of the sea he felt like an idiot | because nothing further could be conquered | and a long way to see a desperate sun | and always the same and always as when he left . (from Stranamore (this too is love), Side A, nº 1)"

"This time I'm really leaving | with a light wind | blowing behind me. | You sleep your sleep well | they know where I'm going | only the stars. (from The City Without Women)"

"But as long as I sing I have you in front of me, the years are just moments, you have always been here in front of me. (from I miss you)"

"Everything you cry is not love. (from Euridice)"

"And he built a delirious universe without love, where all things are tired of existing and gaping pain. (from The Love Letters)"

"But it escaped him that the sense of the stars is not that of a man, and he saw himself again in the pain of that useless shining, that distant shining... . (from The Love Letters)"

"Don't leave me alone this night when I can't see the sky, come back bandolero. (from El Bandolero Tired)"

"In this night sown with clouds that not a light trembles, every question is the answer to a question of the first answer; every return is a false start, the illusion of a movement, like this bath of tears that I have not cried. (from Night song (of a wandering shepherd of the air))"

"And they will tell you words as red as blood | black as night | But it's not true, boy, | that reason is always with the stronger | I know poets | who move rivers with their thoughts | and infinite sailors | who know how to speak to the sky. (from Dream boy dream, n. 1)"

"Close your eyes boy | and only believe what you see inside. | Clench your fists, boy | don't let him win even for a moment | cover the love, boy, | but don't hide it under your cloak | sometimes someone passes by, | sometimes there is someone who has to see it. (from Dream boy dream, n. 1)"

"Dream, boy dream | don't change a line of your song, | do not leave a train stopped at the station, | don't stop yourself... (from Dream boy dream, n. 1)"

"Let them tell the world | that people like you will always lose. | Because you already won I swear, | they can't do anything to you anymore. | Pass your hand every now and then | on a woman's face, run your fingers through it | no kingdom is greater | of this little thing that is life. (from Dream boy dream, n. 1)"

"And life is so strong | that passes through walls to be seen. | Life is so real | that it seems impossible to have to leave it. | Life is so big | that when you are about to die, | you will plant an olive tree | still convinced to see it flourish. (from Dream boy dream, n. 1)"

"Because I will fight for you with an army of plumbers, condominium owners, dentists, pain in the ass and shopkeepers. I will cover myself with the wounds of boredom, the ones that no one sees and that never bleed. (from Portrait of a Lady in Pink Satin, n. 9)"

"[...] it is more difficult for you to move your existence a little lower than the sky and become a man. (from Portrait of a Lady in Pink Satin, n. 9)"

"In here pain is a usual guest, but the love that is missing is the love that hurts. (from Song for Alda Merini, n. 4)"

"Because even nothing is enough to be happy, it is enough to live like the things you say, and share in all the loves you have so as not to lose yourself, lose yourself, never lose yourself. (from Song for Alda Merini, n. 4)"

"If I went back I would spend this life with you, I would dance it and not waste it on great ideas, I would only relive the moments of wind with you, I would love it with you as I have never loved it. (from If I could go back)"

"And for all the boys and girls | who defend a book, a real book, | so beautiful to shout in the squares | because they are killing our thoughts. (from Call me again love, n. 1)"

"Why ideas are like butterflies | that you cannot take away its wings, | because ideas are like stars | that storms don't turn them off, | because ideas are mother's voices | that we thought we had lost, | and they are like the smile of God | in this spit of a universe. (from Call me again love, n. 1)"

"It almost seems like they do it to spite me: when they reach a certain point it's as if they turn off the star that guides them, as if they engrave another life line on their hand. No, I'm not talking about sins, those are minutiae: I'm talking about their path, the course of their destiny. They have a path to follow, a journey to make and suddenly they cancel it, they reset it, they want to be other than themselves; they wrinkle their souls until they become unrecognizable, they rebel against happiness."

"We are as we are, and our freedom is "earthly nourishment"."

"What we consider unfair is only our offended self-love."

"God is the favorite pastime of our mediocrity: a personality that makes up for the one we don't have."

"There are no tragedies to cry over, man is ridiculous from birth, life in itself has no meaning, and it only becomes true when he imitates art."

"There is someone who would bleed words to be heard, even just for a second, but you can't."

"Today being understandable is equivalent to being discovered."

"God, if something happened to me to take away this fear of being in the world."

"Men are always inferior to their ideas."

"Is the actor a fake man who says real things with fake words or a real man who says fake things with real words?"

"Now I see that words act in an unpredictable way, and that you shouldn't believe what you see."

"What was evil? What was good? He wondered, Kyd, and decided not to decide."

"He laughed at the Gospels, Bibles and Korans, as if at lies born of cowardice and human impotence, and for the same reason he could not stand men, masses of mediocrities, broken pieces of a glass window that never existed, gusts of wind without direction, credulous , losers, pathetic to the point of getting together to be able to shout at someone: only great minds deserved great passions, only great players deserved the world."

"Cold, almost metallic, magical and horrifying at the same time, slow to pronounce, as if the words were jewels of dark brilliance."

"Cut it out. I'm tired of who I was, not who I will be. Of who I already am, in truth, because among all beings in nature only men are able to change, erase and rewrite: we have a choice, an escape route."

"Sometimes life takes the form of a dream and you have to start all over again like a newborn baby amazed and in disbelief at not finding its mother's breast."

"It is a story of love and art, but above all of destinies, of paths intertwined by the sky, which at a certain point we no longer recognize and do not want to follow, because if man is not master of the universe, as he says Bruno, however, is always his own master."

"He stopped nostalgia, put it on the wall and stuck it in his heart forever as a way of life."

"Men sing when words aren't enough, when they can't say them, perhaps because on their own they would even be ridiculous."

"It is an irreducible wait without the slightest idea of ​​hope, it is a stubbornness of the heart that does not want to surrender to the line of destiny."

"It means that "non-freedom" is freedom."

"And among all these thoughts, a deep melancholy of something that not even he knew what it was came to his mind and ran through his heart, something lost or never grasped, a shadow deep down in his soul, a confused trait of human instability, of the condemnation to find happiness to never be happy."

"I write to get out, to escape from these infinite, useless stories of nothing that are the trials, the wars, the expeditions, the conquests, even the gods: millions of grains of Syriac sand that a wave is enough to sweep them away."

"We live by whispers and not by screams."

"I stand there, stupid with broken dreams."

"Past. The flight of doves has darkened the clouds, the word given is a breath, it has blended with the sky, it has mixed with the earth, it keeps the worms company."

"I found some breath again, my breath: now I can read myself, as if in a mirror. I contemplate my face, my misery. Enough. Enough. How many times have I told myself this? How many times have I gone back?"

"Away, away, other roads, other seas, a different sky of unknown stars: so that even the stars do not know me, do not know who I am."

"You write because you don't live: it is an excuse, a defense, a surrender."

"I don't cry, I don't know how to cry, I never learned to do it. I don't know emotion, only regret and yearning: I know annoyance and boredom, absence and rejection. I have a lump in my throat, here, now, but I don't even try to shed tears, because if I had to do it once I wouldn't stop for all the days I have left."

"It was like apologizing, to you, but also to me."

"If we are armed and trained, we are able to convince men that we too have hands, feet and a heart like theirs and that even if we are delicate and tender, there are delicate men who can be strong and vulgar and violent men who they are cowards. Women have not yet understood that they should behave like this, in this way they would be able to fight to the death and to demonstrate that this is true, I will be the first to act, setting myself up as a model. (Veronica Franco)"

"It seems impossible to you men, because you cannot read inside it. But we don't have yesterday and tomorrow, we only have the moment that remains and doesn't pass, what has been doesn't count, what will be doesn't exist: every fragment, every day is a part of itself: every day of joy is like eternal and that is our secret. It seems impossible to you men, because you don't know happiness. (horse towards men)"

"In an instant, and don't ask me why, I saw all the evil, all the hypocrisy of the world winning with impunity, crushing beauty, truth and... and I was moved."

"Nothing moves, neither here nor there, nor within me. And it is in those moments that I realize it: nothing lives so intensely as time stands still; because it is not the people running, the objects falling, the voices resounding, that make life: those are inexact imitations of life."

"It wasn't just to stay indoors, shelter from the rain: there must have been in them the absolute certainty of being more than the passing day, beyond the years and beyond time."

"The wonder of memory was nothing compared to what was happening in my mind and soul."

"[...] beauty is this dress that you feel sewn on, soft, warm, indestructible, among many others that always lack something."

"I thought: it's like when you meet a person and their eyes, arm, shoulders, feet, hair are no longer there; those things are not the person, not even put all together: the person is something else."

"I am a man: there is nothing else, neither the journey nor the meetings count, the storm and the sun do not count, the days, the hours do not count; the meaning of things doesn't even matter, whether it shines or goes out. I am a man and that's it: beyond and beyond, with or without all this."

"But this is how desperation is, like a prayer without an addressee."

"Angelo Branduardi"

"Roberto Vecchioni, The bookseller of Selinunte, Einaudi, Turin, C.E.2004. ISBN 88-06-16739-1"

"Roberto Vecchioni, The Song of the Theater Song. Notes on the specificity of a language; in Gaber, Giorgio, il Signor G. Told by intellectuals, friends, artists, edited by Andrea Pedrinelli, Kowalski, Milan, C.E.2008, pp. 207-210. ISBN 978-88-7496-754-4"

"Roberto Vecchioni, Scacco a Dio, Einaudi, Turin, C.E.2009. ISBN 978-88-06-19849-7"

"You always discover the shortest route on the way back! (from SMS to the Madonna, n. 1)"

"I'll only tell you once: COME BACK. Ok, if you want it I'll tell you two: COME BACK. I'll tell you three, please COME BACK. For you I send a text message to the Madonna! (from SMS to the Madonna, n. 1)"

"A total mess happened, a creature stole my heart, please sir, maybe you can please get it back. (from SMS to the Madonna, n. 1)"

"I make marginal music because I was born marginalized! I'm too cerebral to come out enriched and celebrated! (from Low Cash, n. 2)"

"And when evening falls, I ask myself "how is it that everyone already has their own career and I'm still waiting for mine, like the Jews the messiah?" (from Low Cash, n. 2 )"

"Without cash you can't go out and I'm stuck here, no one ever writes to me as if I were http. (from Low Cash, n. 2)"

"There are so few of these dindi that I look at them closely, I watch over them like children. I waste time giving a name and surname to every penny. (from Low Cash, n. 2)"

"Seeing you up close would convert God, | who knows if you still want to make love with me. (from Bere una cosa, n. 1)"

"Now that your lips reflect the whole world I explore it by drinking something with you. (from Drinking a Thing, n. 1)"

"You who are life, but without the downtime it doesn't seem real to me to make love with you again. (from Bere una cosa, n. 1)"

"I'm here on the outskirts waving my arms but you don't even see me | when I throw my heart at your feet, | you'll end up crushing it by going like the accelerator, baby. (from Drink a Thing, n. 1)"

"I prefer to travel by post | and do not leave the surroundings and turn around myself | like the reflection or the time or the people alive or the hourglass that impassively turns on the axis, | she doesn't look down and isn't afraid of what those who torment her think, | how I would like him to teach me not to fear the looks of my neighbor, | me when I walk alone on Viale della Centrale! I, in order not to meet anyone, you know, chase the shadow that is in front of me! and she fits into every hole like gloves, I follow her if I fear she's tampering with some trains. (from Because you never know (what happens to you), n. 3)"

"They all talk to me and no one talks to me! Better this way because already on Monday I finished the sentences for the week. (from Because you never know (what happens to you), n. 3)"

"I seek the key to my fortune. It was lost by an old lady who was throwing pillows and sheets at me. (from Because you never know (what happens to you), n. 3)"

"Before leaving I change the order of the furniture to give an appearance of novelty. | I shave off my hair and recover my decency. (from Malpensandoti, n. 4)"

"There is still no wool that warms fresh, | the only one to succeed for now is vodka. (from Malpensandoti, n. 4)"

"I go to the entrance and am about to enter. | The automatic mechanism, the doors that open to let me pass makes me think: | any goodbye, even between two doors, is traumatic. (from Malpensandoti, n. 4)"

"Even though Malpensa is in the countryside, there is no one to sell a bouquet of flowers. (from Malpensandoti, n. 4)"

"How is it possible that three worlds are not enough to find what you are really looking for, | and the longest love lasts a couple of seconds, you always love that makes you suffer and makes third parties suffer. | Love takes away hunger, you stay fast so you drink a sea to fill the empty spaces, | but salt hurts even more, to survive everyone seeks their own Pozzeto like Cochi. (from Malpensandoti, n. 4)"

"God, how much cold blood it takes waiting for the woman you love, especially if you are not sure of love, and if she has been distant for months. (From Malpensandoti, n. 4 )"

"But then when I see her I don't think anymore | and I don't know if she is far or close, like children the TV. (from Malpensandoti , n. 4)"

"Van Damme! No martial art can stop love from hurting you. | Van Damme, no martial art can prevent love. (from Van Damme (Saddam), n. 5)"

"Don't be scared if I hurt you because | I do to others what I would like them to do to me, | complementary poles, you hate me, I love you, we are like dictionaries, we are Gods | synonyms and antonyms. (from Van Damme (Saddam), n. 5)"

"Sometimes just a kiss is worth the trip or the flight, it's worth the cost of the ticket like Grace Kelly in slow mo! (from Van Damme (Saddam), n. 5)"

"I have also read the notes written in small print but on the martial arts manuals, you can't find any chapter that avoids avoids avoids seems ridiculous. (from Van Damme (Saddam), n. 5 )"

"I recognize myself in my album only if I see myself reflected on the back of the CD. (from Prendi per mano D'Amico, n. 7)"

"It's useless to keep a reserve anyway, | you never know what life has in store anyway, | anyway you can't even save the reserve when life cuts off "the Bull" like Superga! (from Prendi per mano D'Amico, n. 7)"

"Don't leave me at this miserable table, | now you've turned 30, turn 31 and it's morning! | Let's get the last liter of wine | and then let's go together with Falcone and Borsellino. (from Take D'Amico's hand, n. 7)"

"But you're leaving my friend, where are you going? | Stay with me and cheers while there is some. | It will end between us anyway sooner or later and without ifs, | but at least give me time to show you the worst of me. (from Ma dove vai (Veronica), n. 8)"

"I'm just a comedian like Dante, | you are just one like many. | But if you leave my eyes will turn red like cheeks, | and the cheeks will become swollen like oranges, | because if I'm alone I'll devour everything | then I suddenly lose weight when I fall in love again. (from Ma dove vai (Veronica), n. 8)"

"You don't know how to cook anyway, so sooner or later we'll have to break up or we'll die of hunger. (from Ma dove vai (Veronica), n. 8)"

"My biological clock strikes June, | but if you leave my eyes will become autumn, | and the leaves will fall on my cheeks | and the eyes will become red like oranges. (from Ma dove vai (Veronica), n. 8)"

"Don't leave me alone, as happened to God | who doesn't have a TV, and even if he has many friends | they keep him company only on holidays. (from Odio Volare, n. 1)"

"I would like to keep God company but the journey terrifies me. (from Odio Volare, n. 1)"

"Whoever is afraid of the void will not reach the top | I'm also afraid of the void that exists between one step and another. (from Odio Volare, n. 1)"

"If something can go wrong it will certainly go wrong, I am a magnet for disasters. (from Odio Volare, n. 1)"

"I hear the creaking when the world turns. | God, can't you hear the background noise? (from Even if the world has, n. 2)"

"Sooner or later I laugh about it cyclically because the facial expressions are finished. (from Even if the world has, n. 2)"

"Love is that intertime, in which someone | holds you back and pulls you into a little room, | and you, you try to escape and stay | independent in the world but when, | you think again, you think again and you withdraw and you | it seems appropriate to stay, because the world is not that big, | and the aforementioned little room, it's not that bad. | And then you turn and kiss and bless those who respect you but | fades away and you discover that no one respects you or cares for you and you were alone | the sweater got caught in the handle. (from Love is that intertempo, n. 4)"

"If I close one eye I travel half the world at least I dream half of it. (from In Loop, n. 5)"

"Stay behind me and I'll ask the elevator operator which floor it goes to goes to the piano bar, good, | we follow it up to Jesus and down to Beelzebub | and then picnic on the intermediate floors | always full as long as you believe what you don't see. (from In Loop, n. 5)"

"I like women who pretend to be crazy, | but it all comes down to me if they've been redone, | because if you wanted your breasts to be big, giant, | who knows what you expect from my underwear. (from I like women, n. 6)"

"The days all end the same, | and memories are colored crumbs, | you find them in bed and they don't let you sleep, | because you never know whether to taste them or sweep them away. (from Coloured Crumbs, n. 7)"

"I spend the day on a PC justifying on the left like after Moro | but then my boss says: No | I want it like this with the center always justified as after Moro. (from Colorful crumbs, n. 7)"

"The world turns and blurs the poses. (from Colorful crumbs, n. 7)"

"Dinners all end the same, the guests are gone, they clear your table and you can't eat anymore. | And maybe you would have liked to finish drinking, you would have kept the glass, nothing to do, they'll clear the table for you, | you only take home the colored crumbs that still remain anchored to your cardigan and maybe you would have liked to finish drinking, hold the glass, clear my cardigan, baby! (from Colorful Crumbs, n. 7)"

"...and he has calluses on his heart, caused by the recoil of the rifle (from Even if the world has, n. 2)"

"And say any word, start with something simple, it's the first thing you say, no one knows what was there before."

"And there is no end to beauty, but it's a lie, and I could explain it in words, but a photograph of the sun, no matter how hard you try, doesn't heat up the same."

"The words to use? Always those, the art is to change the order."

"Life is a habit, but it always happens that you lose it."

"If I hadn't been terrified of children I could be a teacher, and relive the first day more often."

"Disturbed sleep creates disturbed mind, disturbed mind creates foie gras, and then blames it on the funnel."

"I was loitering and now I have a part in your life, a small participation, I know, a marginal role compared to the dream. But you find me good, waiting for you to wake up sitting on the dresser.""

"If God incarnated again, he would end up on a brand new cross, filmed by cell phones in the air, that's what instant nostalgia is."

"I do nothing, all day, how can I be sleepy? And then there is no peace anyway, I'm in a cage even in the dream.""

"They expire if I don't keep people in mind."

"Don't think about it, think about something else, don't even imagine the space inside your skull, empty worlds, take the first one you like."

"I'll wake up in an hour, I'll have to make a decision! Nah, wake up in another dream, every pillow is a nation.”"

"I cry just to try, because I would like to learn to hold back the tears, when they have already gone half out of me."

"Fabri Fibra"

"She is not only beautiful, but she is intelligent, dynamic and sincere. Every time I saw her, she asked me how the Tibetan cause was going! Moreover, Nicolas Sarkozy is the only French president who met me face to face, perhaps thanks to Carla, who understands Tibetan spirituality."

"Royal. I don't really like him, but I will always vote for the left, as my parents have always done."

"We spent several days in South Carolina for a photo shoot. But Naomi Campbell and I always had lunch in our caravan, even though there was a good restaurant nearby. When I asked why, they told me that Naomi would never be allowed in because she was black. Seeing Obama win was therefore a source of immense joy."

"That was America in 1992! So Obama's arrival is obviously a source of immense joy. For me, for everyone who loves America. For all French people, including one whom I know quite well. I know how hopeful we all are, full of expectations. On the contrary, when I hear Silvio Berlusconi taking the event lightly and joking that Obama is “always tanned”, it strikes me as odd. You could put it down to humour... But often, I am very happy to have become French!"

"I was part of an artistic community. We were bohemians, we were left-wing, but at that time I was voting in Italy. I have never voted for the left in France, and I can tell you, I'm not about to start now. I don't really feel left-wing anymore. There have been certain events, certain comments, particularly following the Polanski-Mitterrand affair. I heard socialist leaders saying the same things as those from the National Front. That really shocked me.""

"First, I am a Sarkozy supporter. [...] I am an ultra-Sarkozy supporter. [...] I am no longer, at all, on the left."

"I am proud of my bottom. It is difficult for a white woman to achieve such perfection. And I find that the bottom is very important in contemporary sensuality. It is sexy and modern. And practical. Unlike large breasts, which are old-fashioned and uncomfortable."

"I am a materialist, I am not interested in ideals, and men who are too intense scare me."

"I can't stand discos: they are full of smoke and people jumping around and going there to pick someone up."

"I always calculate everything, everything I am I have studied at my desk. I control myself, always."

"Human beings cannot be faithful. I take what men believe to be their biological right and, if I feel like it, I go with someone else. I give him the image of fidelity, the same that I demand from him."

"I was fortunate enough to grow up healthy, in a privileged and artistic environment. I would like to be able to pass on some of this good fortune to those who have not been so lucky. The fight against AIDS is a cause I have supported for many years. The fashion world in which I worked was severely affected by this disease and mobilised from the outset."

"The unique position I find myself in thanks to my marriage gives me the opportunity to meet people I would never have met otherwise, to give a voice to those who do not have one, and to draw public attention to causes that are close to my heart. It is a unique opportunity that I do not want to pass up."

"My role attracts media attention. Attention that I hope to direct towards important causes, which unfortunately still attract little interest. I hope to draw the public's attention to those who fight exemplarily every day to improve the lives of others. The more visible their work is, the more it will be supported by the general public, and the more likely they will be to obtain the necessary means to continue and develop their activities."

"I feel as French as I do Italian. Today, my life is in France, but my heart, my roots and my culture belong equally to both countries, and I am proud to have dual nationality. My greatest joy, but also my greatest dilemma, would be if France and Italy met again in the World Cup final."

"Communication works like this: the image of a woman today is that her power is control, but it is a suggestion, it is like showing a beautiful photo."

"Image is the fracture of contemporaneity. Rereading the myth of Narcissus as an adult, you understand that he dies not because he loves his image, but because he prefers his image to himself. I am convinced that our individual relationship with our image is quickly established in childhood: what is this reflection for you? It is you. Do you accept yourself as you are? OK. But usually we are disappointed or vain, because we are divided: half of us are animals, half of us feel like God."

"What bothers me about ageing is the tiredness, feeling less physically strong. As for aesthetics, I preferred being twenty, but I feel sorry for the crazy battle against age. Besides, I had so many beautiful photos, beautiful moments when I was young, I used my body to the fullest. Obviously, I take care of myself, I'm careful, but more for my health."

"My father was a piano teacher, while my mother played the piano: it goes without saying that the passion in me was born very early and that my parents have always supported me, advising me to play the classical piano while I was singing. I lived my life with everyone singing around me – whatever passion I had, my family always supported me. If this doesn't happen, you unfortunately start with one point less."

"When I was ten I was very sure of myself; once a year I skied and on that occasion I was always convinced that I would win all the competitions and in fact I did. I threw myself into it without fear. Then I moved on to tennis and I started to be more afraid of making mistakes. I got scared and started making more mistakes than I would have if I hadn't had all that paranoia. I started to doubt myself, to have no self-esteem. On some days it's freezing, on others it's below zero. I am very self-critical and I always want to give my best, I think this is the reason. I feel a bit Sexy Magica: I understand it as synonymous with carefreeness. I do what I feel like doing, I'm myself."

"I still don't feel like populate. Of course, walking through the streets of my city there are people who stop and ask me for a photo, it's a beautiful thing."

"In my opinion Amici is not a competition or just a talent show, but a school of life, because a leap like this is only made when human relationships are real, when you are "friends" with a capital "A". At four years old my father Marco asked me what I wanted to do as a hobby. I told him that I wanted to play the piano, which was already played in the family, and to play tennis. My parents immediately allowed me to do both. I consider myself very lucky. Tennis, which I played at a competitive level, was fundamental. It's an individual sport: if you win, you just win, ditto if you lose. On the field I almost eat the ball as much as I want to do it."

"Every day I do new things, I'm very happy to live in this loop. I live tossed around Italy, but I'm very excited. I've been singing since I was little, I've never actually studied. But in the villages there were the first experiences of singing in public. I listen to a lot of different music, I don't listen to rap that much. I mostly listen to pop. I like melodies that are beautiful to sing. I am lucky that I have many trusted people who follow me. I also have my sister who is working with me a little, she has no reason to wrong me, when she tells me something I'm sure she is saying it for my good."

"I am in favor of criticism because I think that even negative criticism helps everyone grow, both as a person and as an artist. For me it's important to know from people who don't like you what the reason is for trying to improve yourself. Among the compliments, however, I am pleased when they tell me that I am genuine and simple. I like that it comes out that I'm not a big person. I feel like the same person as before with a little more awareness. Before I was completely out of this world and now I'm realizing that I can face it. Obviously there are people who like me who support me and, therefore, having this little extra awareness doesn't hurt."

"At this point, I would like to mention an important figure, Aldo Moro, who was born a short distance from here, in Maglie... He is one of the biggest shoe manufacturers, someone who has made shoes for the whole of Italy. [...] I know very well that he uses very clear language, he invented several terms, in fact he is a great philologist, he invented parallel convergences, the economic situation, all these things... Once I heard him make some very strange speeches, such as: “These ferments of dissolution, I would not say iconoclastic but projected towards new hypertrophic temptations that bring me back to a new universal pragmatism and new dimensions yet to be discovered...” and there are all these things that make it impossible to clarify anything at all. It's very distracting, and last year I wrote an even more distracting piece dedicated to these enigmatic figures from the world of politics and other worlds as well. Anyway, tonight I want to dedicate it to this character who has outsmarted the whole of Italy."

"Ahó, look, songs are not political texts and I don't give speeches. This is just a joke. In short, for me, ‘'Nuntereggae più’' is the lightest song I've ever written."

"There are people who are paid to report news, others to keep it hidden, and others to falsify it. I am not paid to do any of these things."

"(Presenting the song ‘'E io ci sto’') Let's say it's a journey that's a bit rock, a bit rhythmic through Italy, in this Italy that perhaps we want to change, there are good intentions around, bad intentions. It is certainly an intention to change Italy, and I am in favor of this intention."

"Even when I was singing at Folkstudio, I was at the center of certain discussions... in short, many didn't want me to perform my songs because, they said, it seemed like I was making fun of everyone."

"The dog has a lot to do with it! The new LP is called ‘'Mio fratello è figlio unico’' (My Brother Is an Only Child), and I think nothing expresses the concept of being marginalized and excluded better than a dog. That is, the dog is the epitome of loneliness. The point is basically that we are all poor dogs, quite detached from human contact and quite lonely... That is, we are basically quite isolated from each other."

"I try to write songs inspired by the conversations you can have on the tram, among people, where you immediately realize the state of society. I don't want to teach, I just want to be a chronicler."

"I think that Luigi Tenco died of boredom ten years ago because for twenty-eight years Sanremo has always been the same, because there is no real intention to change it."

"The effendi is that gentleman who habitually consumes a cup of petroleum at five in the afternoon."

"The next piece I'm doing [Aida] is the story of the last 50 years in Italy, told through the loves and moods of a woman named Aida."

"But the festival remains a catwalk, and like all catwalks, it gives you three minutes to make a speech that you would normally make in a two-hour show. So you have to find a way. For my part, I chose the path of paradox, a bit like Carmelo Bene."

"It feels like I'm at the Capannelle racecourse! But let me understand... Am I a winning horse or a placed horse?:*During 1978 Sanremo Festival, quoted in Silvia D'Ortenzi, Rare tracce, p. 93."

"Old songs don't exist."

"Interviewer: Don't you think that by saying ‘'Nuntereggae più'’ you risk being accused of populism? Gaetano: You risk populism when you attribute the effect of a political rally to a song, not when you think you're writing a song about happy times, evasive [...] My songs are love songs for society."

"Interviewer: Why do you talk about various social issues in songs that you then describe as ‘evasive’? Gaetano: In my opinion, there are social periods. That is, there was a period of economic boom in Italy, which we all remember, there was Paul Anka who sang ‘'Diana'’, that other guy who sang another funny song, Morandi who sang ‘'Fatti mandare dalla mamma a prendere il latte'’ (Have your mother send you to get the milk), today milk costs too much so you can't talk about these things here. And people talked about love. Instead, since the economic boom is over, there are problems, and clearly I, as a man, am not blind. However, at the same time, I try to write evasive songs, but since I am not blind, I am unfortunately forced to write and sing songs like “Fabbricando Case,” “Stoccolma,” “Dans le château,” and “Gianna.”"

"Interviewer: Who is ‘Gianna’? Gaetano: Gianna is a girl, a fifteen-year-old who faces a serious problem, that is, she says, “What should I do, get involved in politics right away or wait until I become a prima donna and then do it? Gaetano: In the end, this tough struggle is never resolved because she does both things at the same time."

"Interviewer: How do your songs come about? Gaetano: Let's say I'm in the car, I think of a melody, an aria, and then I try to remember it, to sing it until I'm exhausted, otherwise I'll forget it right away, because, among other things, I have a poor memory. When I get home, I record it, and then this aria will obviously inspire me to write lyrics. [...] Sometimes, however, I'm in the car, I see a beautiful seascape [...] and I decide to describe it in a song. I try to describe the yellow leaves falling and whistling as they fall. And they whistle and go ‘Cip cip’ because they try to imitate the sound of birds. Once I've found these very beautiful, very bucolic phrases, I try to reread them at home with my guitar, looking for musical inspiration in them."

"Interviewer: So the car is a kind of womb from which you give birth to your songs? Gaetano: Yes, I used to write them on foot, now I write them in the car... They are songs for drivers, much richer in fact."

"Who throws the bomb and who hides their hand."

"After three days in captivity, he is released, pictured here with his wife and children, and the Hanoi government declares a state of emergency in the areas affected by American bombing."

"Jannacci was a master, for me he is a true poet, I feel very close to his sensibility. As an author and entertainer, he is truly great. He is someone who knows how to have fun, take things in the right way, and say very interesting things. Take ‘'Giovanni il telegrafista’' (Giovanni the Telegraph Operator), where he comes across as pathetic with extreme elegance. (p. 19)"

"(Talking about ‘'Ma il cielo è sempre più blu’') There are sad or useless images, but never happy ones, because I wanted to emphasize that nowadays there are few happy things, and that is why I consider those who die at work and those who want a raise. Even the line “those who play in Sanremo” is sad and negative, because those who play in Sanremo do not think about those who “live in shacks.”"

"The unifying theme of the songs is that of the marginalized, but not so much those traditionally recognized as such, such as the underclass, alcoholics, and drug addicts, but rather ourselves. Few people care about so-called normal people. Just think of an accident on the street, with people running away for fear that the police will waste their time. This is Mio Fratello è Figlio Unico, a person who is, all things considered, perfectly normal. I like to exaggerate things, I love paradoxes. After all, Ionesco, one of my favorite playwrights, is all about paradoxes. To say that my brother is an only child because he is convinced that there are still exploited, underpaid, and frustrated people is not demagoguery."

"(In the album ‘'My Brother Is an Only Child’') I analyze the situation of the excluded, the marginalized in society, and I conclude that, deep down, we are all only children: relationships of coexistence are dictated solely by duty and not by the pleasure of meeting and collaborating humanely. (p. 25)"

"(About ‘'Berta filava’') It is perhaps the only song that does not fit into the general context of ‘'Mio fratello è figlio unico’'. It is against heroes, saints, novellas, and false myths: deliberately irreverent, the figure of Berta stands out, morally unsavory. In ‘'Berta filava’', the woman is chosen as a symbol: Berta is a bit like all of us who have discovered the tricks, the sleight of hand, the saints who dress in asbestos, the heroes. It helped me to demystify national myths, such as the homeland and the family. (p. 27)"

"(About ‘'La zappa... il tridente, il rastrello, la forca, l'aratro, il falcetto, il crivello, la vanga...’') I wanted to express the contrast between the farmer's tools, rendered as in a slogan, and the useless chatter and games in Countess Maffei's living room. (p. 29)"

"I have never told a story about my own love life, because talking about my personal affairs could upset the woman I am with, as I might run the risk of losing her: at this point, I prefer to lose the song. (p. 31)"

"It must be assumed that I, like other singer-songwriters of my generation, make pop music. But that doesn't prevent me from saying things that aren't light. I also talk about love, but I avoid describing situations such as: she leaves me, goes to someone else, then regrets it and comes back to me. So, even in my language, I try to be realistic. That is, when talking about love, I avoid using the usual tearful and useless words. (p. 31)"

"(Talking about ‘'Sfiorivano le viole’') The meaning of the song is: let's get a move on; while I was waiting for her, everything happened in the world and I didn't notice. Everything happened while I was waiting for you."

"(About the reason for the title ‘'Aida’') Aida is a typical Italian name and because it represents all those women from the last seventy years, so my grandmother, my mother, my girlfriend, and possibly my future daughter. They are all Aidas, who have suffered as I have suffered over the last 28 years and as my mother has suffered in recent years. (p. 33)"

"Aida is not one woman, but all the women who tell their stories, each for five minutes. The result is the story of the last seventy years of Italy. (p. 33)"

"(About ‘'Escluso il cane’') The dog, the more it gets beaten, the more loyal it is: a politically absurd figure for the times we live in. The song was born from this consideration. (p. 37)"

"(About the final part of ‘'Nuntereggae più’') It's just another way of saying: “Oh well, since I've told you these things, since the song isn't political, the song isn't a rally, the singer-songwriter isn't Enrico Berlinguer or Marco Pannella, then at this point those who only write love songs are right.” (p. 41)"

"(About ‘'Gianna’') She is a girl, perhaps a little grown up, who is looking for a lot of things, looking for her Prince Charming, and this time she identifies him in the unions, in other things around her, but since she is a little tired in the evening, she looks for love. If in Sei ottavi she was masturbating, here she is looking for love with others. These are the contradictions of today's girls, and not only girls, but all of us. I believe that we are all a little confused, so we too are inclined to stand on the podium and say: “Stop, now I will explain my theories to you.” Which clearly correspond to my illusions. (p. 45)"

"Sanremo means nothing, and it is no coincidence that I participated with ‘Gianna’, which means nothing. (p. 46)"

"(About the role of the songwriter) To expect to give people something more than a smile, albeit a bitter one, something that starts a concrete process, through a song is pure illusion. This is the thesis of many singer-songwriters and also mine: in Italy, something that has always worked is irony, satire (even if no one has ever identified with the characters who have been the subject of it), the “we can't take it anymore, simplified and without dramatic consequences.”"

"What interests me most is that sarcasm, the way I make fun of certain cornerstones of society, is easily understood by the public and taken for what it is; I have never tried to sugarcoat things or overdo it. (p. 49)"

"In some cities in the north, I have met people who are upset when you tell them you are Calabrian: they still expect to see a dark, short man with a moustache and a shotgun, a grim look on his face and a big hat. I think Puerto Ricans are better off than us. (p. 51)"

"I have written several pieces about emigration, but I have always placed this scourge within the broader and more alienating concept of marginalization and, above all, I have not portrayed the emigrant in the usual, trite iconography (teary eyes, cardboard suitcase, and mother dressed in black), trying instead to capture more of the turmoil of his emotions and affections. (p. 61)"

"(About the miniseries “Rino Gaetano - Ma il cielo è sempre più blu” (Rino Gaetano - But the sky is always bluer) that he produced) I had had the subject in mind for some time. I knew Rino Gaetano well because, as a girl, I was friends with his sister Anna, and we used to hang out in Rome. I liked his music and I liked him, a deeply intelligent guy. His is the story of a modern-day hero, as relevant today as his songs are. Stories about young people are rarely told on TV: this one aims to be."

"His biography is emblematic, beautiful, interesting to tell. Everything about him deserves attention. Even the car accident that caused his death."

"Claudia Mori, quoted in Emilia Costantini, Rino Gaetano, fiction su un cantautore-eroe, Corriere della Sera, 20 January 2007."

"(Referring to some of his songs) “Here there is no Gianna, Aida, or Berta spinning | and when the sun sets, Maria is already gone. | Despite the changes, this sky is always blue, | it is always the color you left it.”"

"We're here tonight to say goodbye to a friend, | to remember a brother named Rino. | I went to Verano just to say goodbye | because, I can say, I grew up with you. | If there were a monument, millions would come | to pay homage to the genius who sang the songs.‘’"

"In the end, Rino's beautiful songs, almost Battistian in style, work. Not only because they remind us of the atmosphere of the late 1970s, but also because the musical obviousness proposed today makes them even more of a model. “‘'Nuntereggae più’'” is very topical: Costanzo and Bongiorno are still there, you just need to change the name of a few politicians."

"The life of the solitary and tormented singer-songwriter (who died in a car accident) was short but intense in terms of the creativity of his compositions, which ranged from paradox to sarcasm. An exuberant and satirical artist with a captivating musical vein, Rino Gaetano played a witty and irreverent role that was unusual in the Italian music scene."

"I will say right away that Rino Gaetano was an artist, and I would add that this cannot be said of everyone. He was an artist, with all the fragility of artists, with a presence and an often decisive desire to provoke. Nuntereggae più is more than a song, it is a manifesto, a chorus of protest."

"He was physically different from us, he didn't have the aplomb of university students that we had, even though we tried to act like freaks. Then there was Rino's gypsy-like appearance, he was a kind of loose cannon, he had enormous talent and boundless imagination. I remember his mocking, provocative gaze, but also his great sweetness. His songs had the formal appearance of nonsense, but they had content, they made you think. Rino knew what songs were and how to write them. He was a man of the South and you could sense that, I mean that in a positive way."

"Francesco and Antonello were politically engaged, even though Rino also had his own political views, but perhaps they were a little more disguised and also a little more subtle, more ironic, not as overt as Antonello's songs might have been."

"Time causes some songs to fade, while Rino's songs defy the power of time: with simple harmonic turns, provocative, irreverent phrases, but recited with the lightness and naivety of a pure artist. And always with his unmistakable scratchy voice."

"Rino's songs are not songs of remembrance, they are songs of the present and the future. The first word I associate with him is: forward. And the Rino of thirty years ago, that Rino, even today, would be one step ahead of all of us."

"He used to write down the lyrics to his songs directly on napkins in restaurants, so as not to lose any of his inspiration."

"When he took to the stage at Sanremo in 1978 to sing Gianna, he looked like he had stepped out of the famous song by Domenico Modugno: he wore a top hat and tailcoat with a boutonniere. With his blend of irony, optimism, romanticism, and nonsense, he was quite unique on the Italian scene, an outsider, like Buscaglione."

"Our destiny is always in our name. Rino Gaetano has two first names: Rino and Gaetano. When you address someone by their first name, it is because you know them, because they are a friend. He even has two [...] Rino and Gaetano, one cheerful and one sad, one studious and one who ends up behind the blackboard, one tender and one sarcastic, one committed and one who doesn't care. Two brothers, two only children, as we all are in a way. Unique."

"I remember everything. Sanremo, the top hat and striped shirt, the explorer's hat. I love hats, and maybe it's his fault."

"Rino Gaetano is the most eccentric, free, and intuitive Italian singer-songwriter. He was a maverick. He was capable of going to Sanremo just to make fun of everyone. A man who relied on his talent, with no other safety net."

"Madam [Susanna Agnelli], perhaps you don't know him. This young man in formal dress [...] is called Rino Gaetano, he is a singer-songwriter who writes ironic, playful, light-hearted songs. He wrote one that was quite successful this summer, ‘'Nuntereggae più’', which means “I can't stand you anymore,” and he, who will soon devote himself to setting the ‘'Yellow Pages’' to music because he makes lists of names, has made a list of names involving a number of people, including me."

"(During A Gino Paoli on August 19, 1977) I would like to introduce you to a friend who came to visit me and who amuses me. He amuses me because he is the heir to a certain type of nonsense, of marinetterie, of the most ancient surrealism. His name is Rino Gaetano."

"It was precisely this attitude that struck me when I heard the first “things” from a young man from Crotone who, wearing a strange hat, enjoyed teasing people with his own songs, which were beautiful songs. It seems a bit of a jumbled thought, but I hope it conveys the idea of what this young man from Crotone, “named” Rino Gaetano, seemed to me to be doing. So I began to “play him” (radio language of the time...) and talk about him in newspaper columns in the weekly magazines of the same period. I was thrilled once again that Gaetano invented ‘the other song’, the song of the song, that he pursued the rhymes that first came to mind... (and therefore the most inspired...). That he sang everything with ease and lightness; even that some people didn't like Gaetano; this thrilled me."

"Gaetano wrote some of the songs that are part of our country's memory. Songs of memory are important, think, I don't know, ‘Zazà’, ‘I papaveri alti alti’ are songs of memory that were not commercially successful or whatever, but they do not live only in the space of a fashion, of a period, they are the ones that remain in the collective memory, they are handed down orally."

"Rino Gaetano writes songs with a particular, cultured, refined language; a kind of realistic poetry in some cases, symbolic in others. I like it best when he shouts Tu, forse non essenzialmente tu (You, perhaps not essentially you), a rather desperate song, helped by a beautiful melody."

"When I got Rino Gaetano's record, I was delighted because I found someone who was as unconventional as me. In reality, those were years when singer-songwriters were committed; if you weren't “committed”—a cursed word, damnably fashionable—you were out of the loop. But then Rino Gaetano came along with his seemingly uncommitted songs."

"He adopted an atypical, clownish style, but he didn't do cabaret. He constantly desecrated pop music and, for all these reasons, he was unthinkable for the Folkstudio audience."

"On the one hand, there were Baglioni and Cocciante, who were bland; there was Battisti, whom none of us thought much of; there were those like me who drew inspiration from France and Tenco, others who looked to Dylan, and others like Antonello who looked to Elton John and English music. Rino was truly the most Italian because he didn't look to anything or anyone else."

"And among these guys we managed on Sunday afternoons, there was this skinny guy, with a few broken teeth, looking like a real badass with his little guitar. [...] He knew how to win my heart right away, so much so that Cesaroni, who had heard him play and “strum” the guitar, as he said, was not in favor of letting him sing even on Sunday afternoons. I, on the other hand, having found some very nice, very naive, very true things in him, waited for the moment when Giancarlo, the so-called “boss,” Cesaroni went around Trastevere drinking whiskey with De Gregori, and I would throw him on stage. And I remember well these two songs he did for a few Sundays in a row, one dedicated to a friend, who, as fate would have it, I believe had been in a car accident and died, and the other dedicated to a railway worker, Agapito Malteni, and it's a song that has stayed with me; I still hum it sometimes. There was this beautiful image of a train running along the Tavoliere. That's how I got to know him."

"It was like this: you sing, sing... say, say... talk... and I'll take you all for..."

"With his guitar, he began to play [Imitating the rhythm of ‘'Ma il cielo è sempre più’'] and began to sing “il cielo è sempre più blu” (the sky is bluer and bluer) and we all went enthusiastically to Vincenzo Micocci: “Vince', look, this guy has written a little piece that could really work,” we told him. Micocci wasn't so convinced."

"I remember once talking about it with Paolo Conte and we were very impressed by his song called ‘'E cantava le canzoni’' (And he sang songs), it was a folk song [...] and it's about transhumance, a road full of cows with bells, the whistles of shepherds. [...] There, really, in a song like that, I recognize his great musical talent."

"I think that in the category of, let's say, “songwriters,” he was the most unusual one."

"He was hitchhiking with his guitar slung over his shoulder, and I gave him a ride to Rome, where he was going to look for a contract. He played me a preview of his songs, and I took him to Vincenzo Micocci, who then launched him."

"If you listen to the songs broadcast by the top five or six networks today, they are always the same songs that are circulating... The curious thing is that even today, you often hear Gaetano's songs."

"Il tempo è giustiziere Rino | ora i tuoi dischi suonano come se fossero appena usciti. | Rino, hai vinto tu."

"Mi serve sentirti Rino | presto al mattino | per non sentirmi solo e per sentire un po' di orgoglio per il posto dove sono nato, vivo e scrivo."

"Rino mi dà tuttora energia e rabbia. Aveva attitudine rock e voce roca, era un outsider anche a livello compositivo."

"Rino mi piaci un casino | tanto quanto mi piacevi da bambino, | mamma dice che eri quello che preferivo | perché eri il solo colorato in un cantautorato grigio."

"I believe that young people today continue to love him or, in some cases, to rediscover him, because of his great simplicity. So generations are clearly renewing themselves through his repertoire."

"He wanted to sing in English because he wanted to disguise himself in some way, so much so that this characteristic accompanied him even later, when he made his official debut, he was always dressed in a curious way."

"I met Rino Gaetano through De Gregori and Venditti, but he started going to the studio without me mentioning him because, how can I put it, he was somewhat protected by the two people I was working with a lot at the time."

"He considered himself a songwriter, not a singer. He was convinced he didn't have a good voice, so much so that after the release of ‘I Love You Maryanna’, when it was time to record his first album, he came to me and said it would be better to have a friend sing his songs. Of course, I laughed and sent him to the studio."

"People remember him, the years go by and he becomes important. It's alchemy, it's truly indecipherable. In my opinion, it's his artistic freedom, his refusal to belong to any code."

"In the world of music, he passed like spring, very quickly..."

"If some of his songs are still alive, that's the litmus test. I mean, they're songs that are suitable for any time, any era, any season."

"There is the song Nuntereggae più, which is also a very entertaining song, but he had the courage of his convictions and never backed down: he named names, at a time when naming names was very difficult."

"He was an anarchic spirit, someone who wrote whatever came into his head without responding to specific social or political codes."

"But he had a great strength, which was irony, and irony was not always understood in those years, when everyone was very sectarian. [...] He focused on writing his songs, and his songs had to faithfully reflect his thoughts but also his eccentricity, that positive eccentricity that accompanied his thoughts, his ability to distort reality in order to describe it better, using the weapon of paradox. [...] He was the most paradoxical singer-songwriter, and it was by constructing the most incredible paradoxes that he was able to describe his times, his life, and his loves with perfect realism."

"These are songs that, if you listen to them again today, all have their own reason, their own truth, and their own relevance. He was a true scourge, someone who put his finger on the wound and even added a little salt if it was needed to widen that ugly wound."

"He was definitely a nonconformist. That's what I admire about him, that's why young people still love him and why his songs still make sense and are fun to sing along to, among other things. Not all songs are meant to be sung along to in bars, taverns, restaurants, picnics, trips, buses... Gaetano's are."

"His unique interpretation of nursery rhymes in pop, reggae, whatever you want... is exclusively his, by right."

"He deserves a place in the pantheon of Italian popular music from the 1960s onwards."

"[In 2007] He is among us in some way and therefore he is in compilations, he is in fiction, he is in television commercials, he is everywhere."

"I wouldn't categorize him because the thing he hated most was being categorized. In my opinion, he is a free talent, a free personality, not inclined to compromise.7"

"Rino Gaetano was not looked upon favorably because he was disengaged, and that was not a time when disengaged people were viewed very well."

"From the authors he read, Dante, Pavese, Palazzeschi, from the music he listened to, from his appearances on television. I wanted to bring out a side of him that had never been seen before, his most poetic and fragile side."

"The first word that comes to mind when I think of Rino is “poet.”"

"(About Rino's songs) They are still relevant today, just look at the lyrics of ‘'Nuntereggae più’', it seems like it was written yesterday. It is good not to forget an artist who did not want to take sides, and who paid the price for that choice."

"A poet above all else, and a jester, an irreverent figure who knew how to play down things without being superficial. I knew his songs but not his life, I didn't know he had been in boarding school as a child. Singing wasn't a problem for me because I had a band. Then, he sang more with his heart than with technique, his were performances, I saw that once he showed up at a Corrado show wearing a diving suit..."

"Posthumous and uncritical beatification is a very Italian way of legitimizing artists who were underappreciated during their lifetime. This is certainly the case with Gaetano: too ironic and not sufficiently “aligned” in the politicized chaos of the 1970s. His death (in 1981) complicated the artistic analysis of his work. And certain fictional works, which were not very philological, did not help, except in the reverberation of memory. Gaetano was a supernova. He shone for three years, from 1976's ‘Mio fratello è figlio unico’ to 1978's Nuntereggae più. The success of Gianna in Sanremo took him by surprise, and he did not have time to come to terms with it."

"‘'Live & Rarities’', the collection of Rino Gaetano's songs authorized by his family, says two things above all: that Rino was a giant (which we already knew) and that he is more alive in death than many of his colleagues are in life (which we would rather not have known)."

"Listening to them again today, even Gaetano's ‘rejects’ say more about the present than most of his living colleagues. Even in his lesser-known tracks, there is that mix of moodiness and disillusioned irony."

"His talent lies in his extraordinary ability to interpret Italy and Italians through playfulness and intelligent provocation, social criticism and nonsense, overturning conventions, which necessarily means overturning convenient truths, official statements, the powdered politics of the Palace, and the stereotypes of a fattened and moralistic conformism."

"But he is an irreverent knight: when he takes to the stage at the Ariston in Sanremo to sing Gianna, he does so in a tailcoat and red striped shirt, with a top hat and sneakers. In this pastiche of words, colors, sounds, screams, and grimaces, the trait that distinguishes him from everyone else is his irony, lived with his heart, with total passion, never with coldness, never with detachment. Irony is his weapon as a poet and, to quote a philosopher, in Rino “irony is the sure eye that knows how to grasp the crooked, the absurd, the futility of existence.”"

"Rino Gaetano continues to flourish everywhere, even though he is no longer with us, because his figure and his music are still deeply embedded in the collective imagination and memory of our country. His music still sounds like a manifesto of brilliant protest, because Rino never sets himself up as a censor, judge, or moralizer: he recounts the world through his desires and his irony, his desire for liberation from individual anxieties and social injustices, his dreams, his artistic illusions."

"Rino throws himself onto the stage, onto the audience, onto Italy, onto politics, and he does so without a safety net other than his artistic talent. He attacks, he provokes, yet he is defenseless, an “only child” in a country that struggles to find itself and sees Rino as a jester, a “strange” singer-songwriter who sings enigmatic, incomprehensible, absurd songs."

"Rino and I met in 1970. I don't remember the exact day, but I think he showed up at Folkstudio, where we were already there: me, De Gregori, and Giorgio Lo Cascio. To ‘us’, the famous four guys with guitars, Bassignano joined us, but I think Bassignano arrived in '71. I was a taxi driver, so in the evenings."

"(About the miniseries ‘'Rino Gaetano - Ma il cielo è sempre più blu’') The fiction did not mention cocaine; it was very present in those years and in the circle where Rino ended up in his last years, and it was also responsible for his tragic end. The story ignored Rino's real problem, cocaine."

"Rino was a sprite, a clown who had roots so different from ours that it was almost inexplicable. So when he played his songs for us, for example, for me and De Gregori, Francesco and I would look at each other and try to figure him out..."

"Rino was a kind of ghost who wandered like an elf around all the clubs in Rome looking for friends, looking for people to talk to, to whom he could play his songs."

"Rino had no points of reference, except perhaps one, who had a tragic fate like his own, and that was Fred Buscaglione."

"Silvia D'Ortenzi, Rare tracce: ironie e canzoni di Rino Gaetano, Arcana, Roma, 2007. ISBN 88-7966-444-1"

"Rino Gaetano, Ma il cielo è sempre più blu. Pensieri, racconti e canzoni inedite, a cura di M. Cotto, Mondadori, 2004. ISBN 88-04-52794-3"

"Andrea Scoppetta, Sereno su gran parte del paese: una favola per Rino Gaetano, BeccoGiallo, Padova, 2009. ISBN 88-85832-60-1."

"C'è un proverbio che ho sentito a The Voice: | «Tira più un Pelù di Litfiba | che un carro di buoi»."

"(About Matteo Salvini) He always makes people laugh, like a fart. I imagine Salvini in government in six years' time: he will have reintroduced the racial laws of Fascism. [About the failure to grant a visa for Nigeria] He's lucky, if someone translates what he says to the Nigerians, I don't know if he'll get back from Nigeria."

"Gaber didn't say “I'm a singer-songwriter”, he didn't take sides. He took what he heard on the street and gave it back to the people honestly, with his own personal touch. Which was a cool touch, from someone who knew how to tell the truth to those in power."

"I have always respected Mango, a virtuoso and respectable singer, always on stage performing his art, right up to the end."

"Il tempo è giustiziere Rino | ora i tuoi dischi suonano come se fossero appena usciti. | Rino, hai vinto tu."

"“'Time is the avenger Rino | now your records sound as if they had just been released. | Rino, you won.”'"

"In Italy, it seems that the Rome are always to blame for everything. And the most unforgivable thing is the rise of Matteo Salvini. Explain to me why if an Italian goes abroad, it's a brain drain, but if a young person comes to us, they're a black person stealing our jobs, even if they have two degrees."

"(Talking to Red Ronnie about choosing vegetarianism) At first, as I told you, I tried it out of curiosity, to see if what you had been telling me so emphatically for a month was true. I tried it and saw that it was true. Continuing with this choice is a personal matter, but in my opinion, you have to see things for yourself before you can choose, right? We are not given the opportunity to choose; we are brought up to eat meat, so I advise everyone to try it and then choose, because in reality you feel – I don't want to say better or worse – but different."

"(In memory of his cat) […] you saved my life. Perhaps it may seem strange to some to talk about a cat in this way […]. But then again, you always understood me. Perhaps not my words, but my soul — yes, that always. […] No matter what happened to me during the day, whether I came home a winner or a loser — you were there. You were always there. […] You were there even when I thought that the only way to forget, to numb the pain, was alcohol. You helped me quit. Without you, I wouldn't be here today. That's why, the day I found out you were ill, I was so scared. […] Almost everyone told me you wouldn't make it. But I knew you wouldn't give up. All it took was giving you back 1/10 of what you gave me over the years to see you come back to life. Some people told me that the treatment was “exaggerated”. That you're not a person, but “just a cat”. They're right, you're just a cat. In fact, no person has ever given me what I got from you. Because that's how cats are. And I know you would have taken care of me as I did with you. I know, because you already did. And now that you've lost the battle, I miss you every day."

"Mi serve sentirti Rino | presto al mattino | per non sentirmi solo e per sentire un po' di orgoglio per il posto dove sono nato, vivo e scrivo.'"

"For years, bullies made me believe that I was worthless and that my soul was insignificant until I defeated them with music. I want to convey this message to young people who are bullied because they are gay or for other reasons: persevere and you too will defeat them. And to the friends of those who are bullied: be good allies and help your friends. Your soul is at stake."

"When we first heard Giorgio Gaber's songs, it was electrifying. What we are trying to do in our career, he was already doing perfectly in the early 1970s. Playing rock, we could say. Not rock misunderstood as self-destruction, but rock as a language. A language that allows you to respond deeply to anyone who prevents the individual from being free: practically, culturally, intellectually."

"Rino still gives me energy and anger. He had a rock attitude and a hoarse voice, he was an outsider even in terms of composition. :*Quoted in Luigi Bolognini, “”Rap' n' roll J-Ax: Now I want to understand if I'm really a rebel“”, “'la Repubblica”', 12 June 2012."

"Rino mi piaci un casino | tanto quanto mi piacevi da bambino, | mamma dice che eri quello che preferivo | perché eri il solo colorato in un cantautorato grigio."

"You're like a beautiful song by a band you hate, you confuse me but I can't help listening to you."

"J-Ax, Dalla strada al palco (pp. 31-32); in Andrea Pedrinelli (editor), Gaber, Giorgio, il Signor G. Raccontato da intellettuali, amici, artisti, Kowalski, Milano, 2008. ISBN 978-88-7496-754-4 (in Italian)."

"Naples is not a city, it is a world. Naples is not only in Naples, you can find it everywhere, even in Germany. The ‘Neapolitan spirit’ is unique. It is clear that every city has its own warmth, Naples has it but in a different way, this city experiences things passionately, with a love that is different from all others. I cannot say whether it is better or worse than other places, but Naples is certainly different."

"(About Mango) I started out in the 1980s singing Lei Verrà in piano bars. It was one of the songs that gave me the chance to start my musical career. The news of his death is shocking. Mango will always be remembered as a great artist, because death cannot silence a voice and a song."