"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)"

"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)"

"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 )"

"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)"

"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'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)"

"I make marginal music because I was born marginalized! I'm too cerebral to come out enriched and celebrated! (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)"

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

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

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

"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 )"

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

"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)"

"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)"

"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)"

"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)"

"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)"

"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."

"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."

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

"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)"

"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)"

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

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

"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."

"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."

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

"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."

"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.""

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

"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."

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

"Making sacrifices is a great key word."

"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."

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

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

"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."

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

"[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."