De Gregori, l’immarcabile: cinquant’anni passati a dribblare chi vuole incasellarlo

https://fed.brid.gy/r/https://www.ilfattoquotidiano.it/2026/06/01/de-gregori-politica-coerenza-indipendenza-notizie/8405197/

Il cortocircuito di De Gregori e il sofismo di Prati: il silenzio non è mai neutrale

https://fed.brid.gy/r/https://www.ilfattoquotidiano.it/2026/06/01/de-gregori-prati-palestina-artisti-notizie/8405210/

De Gregori, Scanzi sul Nove: “Dice che che il pubblico si sensibilizza da solo? Non in questa fase storica, da lui mi aspettavo più coraggio”

https://fed.brid.gy/r/https://www.ilfattoquotidiano.it/2026/06/01/de-gregori-scanzi-accordi-disaccordi-coraggio-notizie/8405310/

De Luca vs De Gregori. Sull’artista che si schiera o si chiama fuori

https://fed.brid.gy/r/https://www.ilfattoquotidiano.it/2026/06/01/de-luca-de-gregori-ruolo-artista-notizie/8403810/

Ma se i tuoi occhi fossero ciliegie...

#francescodegregori
#ciliege

Il Fatto Quotidiano: L’imbarazzante imbarazzo in cui è scivolato Francesco De Gregori

Premessa: qualunque sciocchezza dica Francesco De Gregori deve essergli perdonata per quel che ha cantato e scritto nel secolo scorso.
Imbarazzante in effetti è l’imbarazzo che De Gregori dice di provare per quei suoi colleghi che impegnano la propria immagine, la propria reputazione pubblica a favore di una casa.
Per esempio, Gaza. Non condivide che “l’uomo di spettacolo” eserciti questa moral suasion, diciamo così. Utilizza il termine “uomo di spettacolo” per definire la categoria in cui ritiene di essere catalogato. E non si accorge che se tutti la pensassero allo stesso modo non ci sarebbe opinione pubblica, non ci sarebbe giudizio, confronto, dibattito, polemica.
Sarebbe una valle di nebbie. Lui è uomo di spettacolo. Il carrozziere è uomo di officina? L’avvocato? Il giornalista? Lo spazzacamino? Il mercante d’arte? Se ciascuno volesse riproporre il pensiero di De Gregori, se ciascuno di noi non sentisse la necessità, anche il bisogno di manifestare pubblicamente il proprio pensiero per dichiarare la propria posizione civile e anche politica nella società, quella società cosa sarebbe?
Forse De Gregori aveva voluto dire, e noi infedeli non l’abbiamo compreso, che non è obbligatorio per tutti prendere posizione. Comprensibile, del tutto plausibile. Non tutti abbiamo motivo, ragione, o valutiamo come necessario esternare i nostri sentimenti. Quel che è insopportabile e che dà fastidio è la dizione “uomo di spettacolo” sotto la quale temiamo si sia accampata l’idea che chi sale sul palco ha diritto a nascondere il pensiero o a simularlo per non far torto al principio ecumenico di non far torto a nessuno.
Sarebbe la retrocessione della civiltà del pensiero alla definizione di una comfort zone in cui l’idea, messa al riparo, viene coltivata come quelle piante in serra. Ma De Gregori, che ha scritto e cantato Rimmel, sicuramente è stato frainteso.
L'articolo L’imbarazzante imbarazzo in cui è scivolato Francesco De Gregori proviene da Il Fatto Quotidiano.

The awkward embarrassment in which Francesco De Gregori found himself

Let me preface this by saying that whatever nonsense Francesco De Gregori says must be forgiven for what he sang and wrote last century.

It’s actually embarrassing that De Gregori claims to feel embarrassed about his colleagues who expend their image, their public reputation, in favor of a house.

For example, Gaza. He doesn’t share the “showman”’s exercise of this moral persuasion, let’s call it that. He uses the term “showman” to define the category in which he believes he is cataloged. And he doesn’t realize that if everyone thought the same way there would be no public opinion, no judgment, comparison, debate, or controversy.

It would be a valley of mists. He is a showman. Is the carriage maker a man of the workshop? The lawyer? The journalist? The chimney sweep? The art dealer? If everyone wanted to reiterate De Gregori’s thoughts, if each of us didn’t feel the need, even the need to publicly express our own thoughts to declare our civil and even political position in society, what would that society be?

Perhaps De Gregori wanted to say, and we, the unfaithful, didn’t understand, that it’s not obligatory for everyone to take a position. Understandable, entirely plausible. Not everyone has reason, motive, or feels the need to express their feelings. What is unbearable and irritating is the use of the term “showman” under which we fear the idea has taken root that whoever gets on stage has the right to hide their thoughts or simulate them in order not to cause harm to the ecumenical principle of not harming anyone.

It would be a regression of the civilization of thought to the definition of a comfort zone in which the idea, sheltered, is cultivated like plants in a greenhouse. But De Gregori, who wrote and sang Rimmel, certainly was misunderstood.

The article ‘The Embarrassing Embarrassment in which Francesco De Gregori Fell’ comes from Il Fatto Quotidiano.

#FrancescoDeGregori #DeGregori #DeGregori’s #Rimmel #IlFattoQuotidiano

https://www.ilfattoquotidiano.it/2026/05/29/limbarazzante-imbarazzo-in-cui-e-scivolato-francesco-de-gregori/8402539/

Adnkronos - ultimoratop: Bombardieri apre a Orsini: "Dice che i salari sono bassi? E' un passo avanti, ma ora discutiamo di contrattazione secondo livello"

(Adnkronos) - “Il fatto che Orsini abbia dichiarato che sono troppo bassi è già un passo positivo, perché è una presa di coscienza sul fatto che i contratti vanno rinnovati e rinnovati a percentuali più alte di quelle delle quali si sta discutendo". Così Pierpaolo Bombardieri, segretario generale dell'Uil, a margine del congresso Uilca in corso a Venezia, commenta il presidente di Confindustria, Emanuele Orsini, che ha dichiarato che i salari sono troppo bassi.

Gregori: “When Tenco died, I swore to myself ‘never again to Sanremo.’”

AGI – Francesco De Gregori is never banal: “I am embarrassed by the giantism of the music industry. These concerts could be a counterpoint to the race for numbers,” his opening remarks at the presentation of “Nevergreen” (Perfectly Unknowns) at the Off Theatre in Milan, where two years ago the first edition of this project began, which will materialize in a record and from which the documentary film was born presented last year at the Venice Film Festival. A film by Stefano Pistolini, which will air on Rai Tre on June 4th. At the Off Theatre, the singer-songwriter will return in the autumn, always with the “lesser-known” songs. And on October 16th, the live album “Nevergreen-perfectly unknown” will be released, recorded at the Off Theatre in Milan.

“When we did the shows in 2024 here – he recounted – I realized that the audience actually knew them all because there were those I affectionately call ‘De Gregori’s Taliban’. I wanted to make it clear to the general public that at these concerts no one should expect me to do ‘General’ or ‘The Cannon Woman’. The public has been warned. I see that even in the newspapers, there is a tendency to always talk about those who fill stadiums. ‘Sold out’ is a terrible word that bothers me. It bothers me just as much as the word ‘biopic’. So much people make music in Italy and can’t fill a theater. This music that comes from the bottom up must be promoted and encouraged; I started my career in a very small venue, if it hadn’t been there, I wouldn’t be here.”

The Meaning of Nevergreen
Returning to Nevergreen, and of the name used to define the project, De Gregori emphasized that it is “a somewhat Macaroni-style insertion of English done by me. ‘Evergreen’ are the famous songs, those that remain in history. And ‘Nevergreen,’ according to me, can mean songs that have never become famous and that perhaps will never become famous.”

The Documentary Film and Concerts
The documentary film tells of the 2024 residency at the Off Off Theatre in Milan: 20 concerts over the course of a month during which the singer-songwriter proposed every evening to an audience of just 200 people a selection from a seventy-odd songs that he considers the least known of his production – or even the “perfectly unknown,” the nevergreens, never bestowed with the title of “evergreen.” The film is not the umpteenth celebratory biopic, nor is it a film-concert ritual: it is immersed in its music, able to move between those songs, in the penumbra of the theater, in the emotions of the evenings and impromptu encounters.

The Return to the Stage
The Nevergreen concerts will return in the autumn, will be intimate moments that will once again accompany the public on a journey through the lesser-known songs. This time the residency will be double: from October 27th at the Teatro Sala Umberto in Rome and from November 25th, it will return to the Off Off Theatre in Milan.

The Refusal of Sanremo
Never has gone to Sanremo and never will: De Gregori, answering a specific question, takes the opportunity to clear the matter once and for all: “I’ll tell you the truth about Sanremo, I was 16 years old and I had already thought of being a singer, writing songs. It was one of my dreams because I liked songwriters. Then Luigi Tenco killed himself and that night I swore to myself that I would never go to the Sanremo Festival. Never, under any conditions.”

#Gregori #Tenco #FrancescoDeGregori #Nevergreen #theOffTheatre #Milan #first #StefanoPistolini #RaiTre #Taliban #Italy #DeGregori #English #theOffOffTheatre #Sanremo #LuigiTenco #theSanremoFestival

https://www.agi.it/spettacolo/news/2026-05-26/de-gregori-nevergreen-progetto-37244904/