Reviews by Time Bomb

When did this happen? We were distracted? Do not we know this? Suddenly Daft Punk have become the most relevant artists of the moment.
"Random access memories" is one of the most anticipated of the year. Perhaps the most anticipated of the year. It will be released on May 21 - but we heard a preview. And be prepared: it is a rollercoaster ride of music to dance to. While the Electronic Dance Music goes more and more towards sounds hard, plasticky, synthetic (a little 'tamarri, some would say), Daft Punk retrieve the dance played by people, not by machines, giving you a nice lesson in style to the last generation DJ superstar.
Waiting huge, we said. Justified? Surely crafted on a solid foundation.
Daft Punk hamm always enjoyed a universal consensus, since the beginning of the late '90s. Their mix of classic dance and modern electronics, their technological imaginary, the charm of the "French touch" ... And I'm eight years that do not publish an album of songs. Add that in this period there was the global boom of the Electronic Dance Music, in fact.
But above all, add a communication campaign orchestrated maniacally in detail, with advances and advances in advances. When you say "maniacally" no exaggeration. To say that we have listened to the album, arrived a few days ago at the Sony player in a specially modified, encased in a briefcase armored and padlocked, whose numbers had been shipped separately. No CD, no MP3. A scathing release that inhibited from writing / posting anything anywhere (including social networks and personal profiles), up to the current date. No chance to "leak" of notes and information. In 15 years of career (so to speak) I have never seen such a level of security - of paranoia - for an album.
In all of this "master plan", the longed-for arrival of the single "Get Lucky" was the first surprise: a song so cool. But a song "normal": it seems - at least for the first half - exit from the golden age of disco. Then, only after a while ', apart from the recognizable "sound Daft Punk."
A single perfect to introduce "Random access memories": a hot album, which revisits 40 years of dance music, with an eye to the origins, to the golden age.
It would be enough attack "Give life back to music", with chitarrine to Nile Rodgers (that there is here, but in other passages yes), onto which the robotic voice - real trademark of the duo. A voice which, however, is far from self-tune: the voice of a human robot, as they say.
Or would suffice the relaxed pace of "The Game of Love", the second song that quickly change the atmosphere. Or the long "by Giorgio Moroder", 9 minutes built on a spoke of the legendary producer, a suite that blends into the next "Within" - a play roller coaster sound successful and repeated in "Touch", another suite of 8 ' , this time with Pharrell Williams. In "Instant crush" Daft Punk even manage to make it look like pussies in the enterprise tastierone to the Alan Parsons Project, with Julian Casablancas unrecognizable under (filtered of course): it will be the second single, and there's little wonder whether it will be another success. There are games with the syncopated pop to Steely Dan (and even a little 'Fleetwod Mac) to "Fragments of Time", sung by Todd Edwards (already present in the "Discovery"). There are historical names (Nile Rodgers and Moroder, we said), but also contemporary names (Panda Bear, DJ Falcon, Chilly Gonzales). So there's all that there must be, and even more. And everything is done (and played) very well.





If the disk has a problem, maybe it's the length: 13 songs, 75 minutes are many, and several songs - especially the suites or full version of "Get lucky", that album came out at 6 '- are a bit' self-indulgent . But the ideas of Daft Punk must have accumulated in abundance, in 8 years and feels, and how if feels.

TRACKLIST:
"Give Life Back to Music" (with Nile Rodgers)
"The Game of Love"
"By Giorgio Moroder" (with Giorgio Moroder)
"Within" (with Chilly Gonzales)
"Instant Crush" (with Julian Casablancas)
"Lose Yourself to Dance" (with Pharrell Williams and Nile Rodgers)
"Touch" (with Paul Williams)
"Get Lucky" (with Pharrell Williams and Nile Rodgers)
"Beyond"
"Motherboard"
"Fragments of Time" (with Todd Edwards)
"Doin 'It Right" (with Panda Bear)
"Contact" (with DJ Falcon)

With a title that seems to be the new episode of the Twilight saga and a magnificent cover - a photograph of New York in 1966, by Neal Boenzi, which portrays the Big Apple on the day of maximum pollution in its history - the return Vampire Weekend, at the finish line of the third album after the success of the first two almost unpredictable.

Their interesting formula, consisting of a typical New York indie rock and world music jerks, is one of the coolest heard in recent years and has earned the band a great response to the public (but sometimes too critical of them by the specialized press has often paid as pale imitators of Paul Simon's Graceland). Modern Vampires Of The City, produced by Ariel Rechtshaid in his studio in Los Angeles, with courage differs from what was done in the past and trying to find, often succeeding, new avenues of expression for the quartet. The band itself has defined the disc as a product of meticulous attention to detail and level of composition and a significant step forward, and one can not but agree that in spite of some step-load flag as Vampire Weekend are still in search of his masterpiece or, at least, of a personal style to its completion and original.

And if in some cases it is possible to see without much difficulty some nice references to the past - Contra is an album slap even today - as in the case of Diane Young, there are several unsettling moments in the disk and a general atmosphere darker, almost the cover photograph represented in some way the general mood. If Do not Lie vaguely reminiscent of the Strokes, Hey Ya, Young Lion and Worship You tell a group of more mature and serious, almost African rhythms of the recent past were a luxury no longer sustainable. Tentative but interesting ...

Strange artistic career that New Yorkers Yeah Yeah Yeahs, hailed since the ramshackle beginnings - a handful of spectacular EP - as the next big thing from the Big Apple, but never really exploded in the manner for which it was expected, although the three continue to be between the names of favorite American critics. There are no shortage of interesting episodes in their discography: the first album, Fever To Tell, is a great example of their wild talent, the charisma of singer Karen O and skill composition of guitar and Nick Zimmer, but little at a time trio is a bit 'wrapped on itself, though the ultimate test in the 2009 study, it's Blitz!, has sported a great desire for change and a series of songs well calibrated.

So sorry to see that, however, Mosquito - the award for the most horrendous cover of 2013 can not miss the boys - show a certain weakness of the bottom and a band stalled, as if the indecision had undermined the recording sessions chaired by Dave Sitek and Nick Launay, two old foxes of rock production. There are good ideas, as always in their work, thankfully, but the general tone of the album to be very compelling, almost the Yeah Yeah Yeahs had decided to tone down their explosive energy in favor of more thoughtful pieces and contours that not always work. The final two tracks, Despair and Wedding Song, are proof that the group still has interesting ideas and talent to turn them into compelling songs, as well as Subway, slow and mellow, it works pretty well within Mosquito.

Black Eyed Peas have been one of the most popular Hip-Pop years of zero. Party animals (minus the stage), pure hallway, but left a handful of singoloni hammering ("I gotta feeling" among all).
We have no news of their dissolution, what we do know is that the leader Will.I.Am the band is very narrow. For several years you see a little 'everywhere, dall'endorsement to Obama - complete with a hymn, "Yes we can" - a coach of "The Voice UK", as creative director of Intel Corporation (?) To one billion featuring (even with the dead, see Michael Jackson) and productions - including, apparently, the last U2 - in a sort of trash-pop-Tamarra version of Jay-Z.
More than an artist, a brand. You can tell by the name and logo identifying it: in his fourth solo album, its symbol is enclosed within the icon ignition of electronic appliances. It's called "# willpower" (with the gate, as Mengoni), and it really takes a lot of willpower to arrive, safe and sound, at the end of the disc.
"# Willpower" is a long and ugly - De Luxe edition comes to an hour and a half - pezzacci of the worst collection of dance that can be found in circulation, a mix of David Guetta, the Swedish House Mafia (which in comparison seem to Earth Wind & Fire) and all sounds more in vogue today, with the addition of tons of auto-tune. In short, a real disk trash, understood in the definition of Thomas Labranca, or emulation botched example of a "high" (so to speak).
So "Ghetto Ghetto" with the childlike voice of rapper Baby Kaely follows "Hard Knock Life" of the aforementioned Jay Z, "Getting Dumb" looks like any piece of Katy Perry and "That Power" by Justin Bieber is the carbon copy of his same "Scream & Shout" with the addition of ridiculous inserts à la Daft Punk. In all this, the piece with Britney Spears who takes an absurd British accent ("everybody in the clob") remains one of the most interesting songs of # willpower.
Despite everything, the disc contains pieces that characters hammer through the summer for the long list of guests and employees, while lacking "THE (The hardest ever) "the single last year (with little success, indeed) with J.Lo and Mick Jagger. It 's very likely, however, that the song with Myles Circus, with that fischiettino recognizable become the soundtrack of a few commercials on young free sms from a vendor telephone at random. The pieces of the matrix more hip-hop ("geekin '", "Freshy") at the end are the least worst, but even these are copies of ideas already developed by rappers like rank as Kendrick Lamar and A $ ap Rocky.
On the part of the texts a veil, just read the track titles to understand the level of banality on which you are moving.
Before closing, the Oscar of "worst song ever" should be assigned to "Great times are coming" which starts with a plan similar to "Let it Be" by the Beatles, then it becomes a piece of Coldplay and after the verse in Kanye West, steals an aria by Johann Pachelbel then turn it in the usual zanzarone. All right get too smart, but here is exaggerated.


TRACKLIST:
"Good Morning"
"Hello"
"This Is Love" feat. Eva Simons
"Scream & Shout" feat. Britney Spears
"Let's Go" feat. Chris Brown
"Getting 'Dumb" feat. apl.de.ap and 2NE1
"Geekin '"
"Freshy" feat. Juicy J
"# ThatPOWER" feat. Justin Bieber
"Great Times Are Coming"
"The World Is Crazy" feat. Dante Santiago
"Fall Down" feat. Miley Cyrus
"Love Bullets" feat. Skylar Grey
"Far Away From Home" feat. Nicole Scherzinger
"Ghetto Ghetto" feat. Baby Kaely
"Reach for the Stars"
(Deluxe bonus)
"Mona Lisa Smile"
(Deluxe bonus)
"Bang Bang"
(Deluxe bonus)

The best review for this album has four words written in one of my friends in chat: "looks like a real thing." That pop electronic matrix of solid, refined and manufactured with surgical precision that finds its best expression in artists such as Pet Shop Boys, Kylie Minogue and voices Swedish export is not a matter for the Italians. There are people who try (or buzz Paola & Chiara Anna Tatangelo in its most recent transformation), but the results are almost never live up to international products. It would be like asking the Swedes to get tested neomelodico: not the result would be nothing credible.
In this desert Italian, bordering a dance scene neglected and overcrowded lands of howler post-or post-Nannini Giorgia, come the Donatella. For those who did not follow the latest edition of X Factor, the twins Provide ended up teaming up with Arisa. The singer and her coach immediately tried to forge a creature pop / dance (attempt already managed very well with Antonella Lo Coco), and even azzeccarono the pseudonym "camp." The Donatella were perhaps the most fun in the race and with their Tommassini had the rare opportunity to play - throwing away the trees of paper mache and other menate conceptual. Their voices, however, did not stand comparison with those of other competitors. After just four episodes, the Donatella returned home, after five months, comes "Unpredictable" and, as the title suggests, was not expecting anyone.
The Provvedi can finally be not caring about uvula from talent: Do not be uvula from talent: they have a strong and - here comes the real surprise - a very good first album, written and composed by a relatively small team that comes mostly from dance . Immediately comes to compare them to certain coupled International: twins Tegan & Sara, the fake lovers tATu, the new heroines of pop-it-like-also-a-Pitchfork Pop Icon, but the reference points are others. The single "Magic" is a clear tribute to Depeche Mode; "Love comes quickly" is a cover of the Pet Shop Boys successful despite being more carefree of the original, and in many passages (especially in "Inner Child" and "Fade to black ") you hear a reference to Ladytron, but also to the last Goldfrapp or vintage Minogue," Thunder ", the best of the album, would be confused without arousing suspicion in the discography of Annie.


Sure, there are weaknesses: sometimes the productions and the voices of Donatella have no depth, but part of the charm of the album is to hear these two androids monozygotic sing with the posting of stories tormented you probably have not lived. When you are removing the scaffolding electronics from under your feet, inexperience is obvious and disastrous, but it happens only in the last acoustic track: in the rest of the disc could hide behind a glacial electropop, but so nice and glossy as the graphics of the cover.
With "Unpredictable" for once you can waste the term "project." It is not a joke, it is an attempt to revive a career that had never begun, it is a record made of a hurry just to support a television product: against all odds, "looks like a real thing."

TRACKLIST:
"Fooled again" (radio edit)
"Inner Child"
"Love comes quickly"
"Magic"
"We arent nothing"
"Waiting for you"
"Thunder"
"Unpredictable"
"The reflection of feelings" "Fade to black"
"Enemy"
"Fooled again" (acoustic version)

It 'essentially a hard rock that marks the comeback of Nek. "Philip Neviani" is the title of the project comes about two years after the greatest hits with whom the singer of Sassuolo had celebrated twenty years of career (it was back in 1992 when, in his early twenties, Nek debuted in the music business with "Love me", lead single of his first official album of the same name), two years in which his emotional life has been marked by one hand by the death of his father (to whom he dedicates the album), the other by the birth of his daughter Beatrice . Experiences, these, that have allowed Nek to search your feelings the right words and good insights, to fold in on itself in an attempt to capture all forms of inspiration.
And so come to light a new solo album, released simultaneously in Italy, Switzerland, Germany, Austria, Poland, Slovenia and Turkey on 16 April. Produced by the same Nek, along with nut Parisini and Alfredo Cerruti for Warner Music, "Philip Neviani" contains ten songs (including the first single, "Astral Conjunction") in which Nek is split in half between being an interpreter and being a songwriter. Five of the tracks that make up the album are in fact signed by the authors quoted Federica Camba and Daniel Coro (in addition to the lead single, "Half of nothing," "Only You", "Someone like me") or Andrea Amati ("Give me more "). All the others have the same signature instead of Nek in the text and music. Texts, all of these, which occur as well as invocations to love and need for strong emotions. Listening opens with "Hey God", a piece of high-impact Nek in which he rails against rabies and against the evils that afflict our society ("it's only the hatred that makes the news every damn tg", sings bitter), seeing in the feeling of love and faith in the bulwarks to retreat. The second track, "Astral Conjunction", is a beautiful declaration of love in music, "Inside the soul," the letter sweeter than a father to a son. Among other tracks, you report on all the effrontery to "I do not ever" and the addictive chorus of "Someone like me."





From the musical point of view, "Philip Neviani" is presented to the ears as a hard simple and straightforward, without too many tricks or electronic tricks, made a clean sound, poor. Nek is confirmed as a full-songwriter and able to play the triple role of author, artist and musician: all tracks on the disc have been played by him directly. What characterizes "Philip Neviani" could be defined as a natural rock and inspired by typical sounds of the great international power-trio band, which makes the album a happy island in the landscape confusing and too pop-winking of the Italian record. Not a disposable product, this, but a more sincere and unpretentious.

Tracklist:
"Hey God"
"Astral Conjunction"

 "Inside the soul"

 "Half of nothing"
"Only you"
"I do not ever"
"Someone like me"
"The time will come"

 "Give me more"
"The world is in your hands"

Vivace. The title of the new album of Motel Connection refers to the indication dell'andamento on scores of classical music, especially into force before the introduction of the metronome. With "lively" means about 140 beats per minute, those typical of dance music so to speak. Personally, I remember those kids who are never still, with parents who watch them and say, almost apologetically: "Yes, my son is a little '" lively "." Not really a good kid, in fact.

These two descriptions summarize perfectly the new work by Samuel, and Pisti Pierfunk. Why Vivace is a hard dance powerfully, despite the desire not to recline too much on certain styles of dance music. For example, in the first single Midnight Sun the vocal line that law on electronic sounds anyway. Or in the successful attempt to hybridization with rap Vertical Stage, where the rhymes Ensi become in effect a tool in the hands of the disk jockey, as he himself declares in the refrain: "Do not tell my Dj which piece to pass, if you do not turn 130 can not mix "(and even here the reference is always to the bpm of the time," lively "). The moments are blatantly dance anyway predominant Hit My Soul on everyone, so that listening to the disc through headphones can leave a stunned moment, but promises a lot of satisfaction in being live.

Compared to the previous H.E.R.O.I.N. the balance in the arrangements is neglected, the importance of voice and melodic line is clearly in the background, sacrificed for research and recurrence of persistent throbbing right to dance. This remains the main ambition of the new album of the trio of Piedmont, born more to be pumped from the subwoofer of some clubs than for the iPod earphones.

The intent stated in various interviews pre-release was to experiment. Not that surprised, given that the approach of the Phoenix has always been somewhat outside the traditional mold of pop music - even if some of their songs in the past have found themselves in the mainstream, almost without doing it on purpose. For listening concluded that proclaims seems exaggerated: the melodic vein of the French band remains largely unchanged, while if anything, slightly change the way in which it is manifested.

Just to be clear: the first three tracks leverage singable choruses and impact immersed in arrangements that find the right balance between memories eighties and modern indie rock, pseudo-oriental influences in the individual palesate Entertainment and the next curious about The Real Thing mixing nostalgia and energy, while Sos In Bel Air looks like an evolution of thought new wave of A-Ha. Each interval of sound frequency is padded and compressed to spasm, but the confusion is avoided by the skilful production work entrusted once again to Philippe Zdar of Cassius (French alliances in the field of music are well known, and in most cases lead to good results). Passing through a Trying To Be Cool which is perhaps a bit 'too full and slightly forced, you get one true experiment in this Bankrupt!, Which is the title track: it is an odyssey that lets talk about the synths for more four minutes, and then receive voice and acoustic guitar with progressive and conceptual intention, complete with a fade out compulsory. Drakkar Noir takes a moment to re-lighten mood and style, lacking even an intro is so direct, but with the seconds that pass evolves in a couple of sudden changes of direction and a few little madness in the arrangement to reject the ' ordinary. Applause from the elegant funk of Chloroform in slow motion, while the march of Do not introduce another moment to remember the disk: the graceful and fairy Bourgeious. The forty minutes that make up the fifth album of the Phoenix ending to the tune of Oblique City, which aims at a strong pace and a melody that, while not exactly immediate, still managed to drag.

There will be very little chance of coming across an extract of Bankrupt! on some radio station, on the other hand it would be discussed on how this was the primary goal of the Phoenix. But why lose hope in advance? In the event happen, would certainly be an asset

After strenuously (and rather rude) confirmed that "a fucking band to do some fucking hard to get up on a fucking stage," Iggy Pop has decided to return to the studio with his Stooges for an album that gives ten brand new pieces and returns the hands of time machine around 1973, when together with his friend and guitarist James Williamson - here again in tandem with him - gave the story a masterpiece Raw Power.

The poker opening, consisting of Burn, Sex And Money, Job and Gun has just the flavor of that incredible album, with the guitar riffs and classically Stooges firepower that it is hard to imagine a band that, for four-fifths , has far exceeded the sixty (and added bassist Mike Watt still sails above 50). In short, if Ready To Die is a demonstration of how the chronological age in rock accounts up to a certain point, you have to anyway congratulate Iggy and James to be able to avoid the hole of inspiration of its predecessor The Weirdness (there but the guitarist was the late and legendary Ron Asheton) and for giving us a handful of songs that, even if they add nothing to the myth, at least you are listening to with enthusiasm.

Said the return to the atmospheres of Raw Power, it is worth noting that, in some excellent bargains, blues-faced master, by providing a justification for the choice to settle down with independent Fat Possum, specializing in music of the Delta own. Unfriendly World and The Departed reminiscent of the Stones Exile On Main Street and give the possibility to Iggy also to show off his talent as a crooner and almost baritone voice, balancing into a warm and relax the impetuous rage of an artist is always "ready to die. "May God preserve him for a long time, rather ...

Roberto Saviano seven years later: Exit Zero Zero Zero Zero Zero ZeroRecensione, the new dense volume of Roberto Saviano on the vicissitudes of the global drug trade: the problems of the revival style of Gomorrah.


Zero Zero Zero is the new work by Roberto Saviano: a mixture of fierce global report on trafficking of cocaine, an overlap between investigation and narration that replicates the experiment that led to the success with Saviano Gomorrah.

Gomorrah came at a time in our country's history of great social and cultural change, the effects of which, probably, we are still processing.

It is a text that tells better than others, in fact, a great time to return traumatic life common to reality: there had been a few years ago on September 11, the collapse of the establishment economy was coming and everything was set up because the society live a healthy bath in the Real, as he told us Saviano, persisted in to remove.

The things we told Saviano, if they were known, were not enough to be really known. The success of Gomorrah is the alienation that created the record in turning something that the reader could perceive and live, reacting. The fact is, then, that Gomorrah is inserted into a space between the chronicle of a newspaper removed and a text from literary procedures of hard coding: there has always been at the center of the ego of the author.

It is an important fact because the narrator of Saviano, unlike, for example, the texts of Walter Sites, is a lyrical, confessional, and that I also found in Zero Zero Zero:

"I wonder in years to serve tell of deaths and shootings. All this worth it? (...) They'll give you the scepter of hero for a few months, you will earn if someone read your words? I hate those that have spoken before you, ignored? "(P. 95)

This 'I' certainly seems like a lever on the success of Gomorrah, which by the public to identify and empathize with the protagonist has slowly pulled the figure of Saviano's life from his degree in philosophy and turned it into not only a writer of success, but a figure of witnesses, the weight of which it would be difficult for anyone to take, and whose image is very difficult to manage, in the media. If you add, moreover, the known condition of segregation Saviano, you can contextualize well the conditions that led to the drafting of Zero Zero Zero.


Detail of the cover of Zero Zero Zero
The text takes the formula of Gomorrah, mixing long (sometimes very long) excerpts of record that you follow a number of names and facts that the Italian reader may have difficulty following, to the remoteness of the context: in the pages and pages' author traces the history of Colombian and Mexican cartels mafia, reconstructing sparse style halfway between the police report and press reporting the facts of power that led to the control of cocaine in Latin America, then moving in Calabria and in Russia, carrying out the main thesis that cocaine is the most flexible and profitable commodity in the world.

The suggestion by the American novel is something that should be emphasized. Saviano seems to borrow from authors such as Don de Lillo this charm to penetrate the goods imagination: almost in the center of the book is a kind of poetry-list of all the names of cocaine, seen as a kind of post-Mab quean post-modern. The wording chosen by the parties unless explicitly and more fictional chronicle of this composite text is often explicit and perhaps annoyingly assertive. You hear with clarity the relationship neurotic author with writing: not for nothing that the book begins with a simple (well played by Toni Servillo recently) five pages of possible addicted to cocaine.

Zero Zero Zero is short, as it was Gomorrah, a work by fine performances, the purpose of which is, explicitly, strike the reader telling something raw and hidden. The fact, therefore, that most stands out compared to a novel real is that the shape, style, do not come consistently from the structure of the narrative, but there is overlap. As a result, the exact opposite, for example, a realist narrative, the implicit subtext that anything that is told to be 'shown' as it is really explicit in its traumatic reality.

The prose Saviano therefore fluctuates dramatically between these three dimensions, the confessional, that the drive to show the facts and the merely chronicle. What seems to happen is the obsessive repeat traumatic effect sought in the first book, so in the continuous engagement of different styles gives the impression of a continuous 'suspension' of reality, the idea that the word should turn of events in order to show to as they really are.

We see here the paradox: the traumatic reality to appear to be 'shown' as such, because otherwise it would be a mere chronicle. Well understood: what you shoot in the book is really creepy and prose text in many places is quite good, although it is a bit 'impossible to say whether the effect of estrangement that the book will be the same. In fact, a construction of gender, the narrative structure of carrier is assigned to current events, implies that the stylistic procedures, not welded for choice with implantation of the story, the success of the work rely on factors external to the text: the posture of the player with events taking place (this is a book made for an audience 'world' and the facts are less 'perturbantemente' family), the possibility of self Saviano (much less in the new book) to grip the consciousness of the reader, given the status now changed, the public persona of the writer.


Roberto Saviano's transmission "What (not) I"
Are all these external factors inherent to the nature of the book 'performance' (the rest is not a coincidence that Gomorrah Zero Zero Zero on the cover have two strong reminders of contemporary art) and, to a mixture of excerpts of stories and prose narrative and stylistic waiver in fact one of the main axes on which the story: that consistency inventio, the fact that when we invent a story, the style is contiguous expression of this invention and not a simple superposition.

The nature evenemential, that is linked to circumstances in which it was published Gomorrah is, moreover, the origin of the same symbolic process that led the writer to a complex role in the media and that probably has substantially hindered his literary journey. The moment of the Royal traumatic event-represented Gomorrah has caused a number of consequences for its author-character, fitting as the protagonist in the book, he tied his life and his image, the symbolic mechanism triggered by himself.

And so it becomes, too, the protagonist (and in a sense a little 'victim) of the process media due to Gomorrah, making it perhaps more difficult the elaboration of its capacity necessary to a writer in order to grow. Zero Zero Zero will be successful to the extent that succeeds in its intent of complaint, to recreate the conditions of the first text, which is not impossible but difficult, since what happened the first time it was exactly the reverse: Saviano-author was dragged from Saviano-character in a symbolic process larger than the exchange and social media, which has changed my life, making it more difficult for the author to dominate, as well as his daily life, his media image, even his literary skills.

Perhaps the best thing to do for the author would be to avoid giving her such a figure symbolic weight, thus exposing its indisputable great merits to the blackmail of having to replicate stubbornly an aesthetic effect that, as with any book, it is always unique.