A cura di Lorenza @lastanzettarosa

Luciano Ligabue, a name and a destiny, perhaps marked precisely by the double initials ‘LL’ found in several curious anecdotes in his latest book. 

Many signs scattered along the way make music for Liga a real siren whose constant call will inexorably bewitch him. The first sixty years of his human and artistic life, which actually seem like a hundred, are narrated in his autobiography in an exemplary and authentic way, outlining characters and situations of a true novel.

Liga singer-songwriter, musician, writer and director. A versatility that never detracts from the authenticity of his work.

ligabue (3)Luciano, music appears early on in your story. The Foxtrot in Carpi, run by your parents, Lucio Dalla’s live show as your first concert as a spectator, and then again the Tropical. How much did all this influence your future and your choices?
I can’t remember a time when I wasn’t passionate about songs.
I have been since I was very young with all the songs that circulated in the sixties. The fact, then, that I had music ‘delivered’ to my house thanks to my father who ran clubs, helped to increase that passion of mine and, I guess, mark my path a bit.

ligabue (8)What would you like to say today to the teenage Luciano who with ‘Clarissa’ (the first guitar given to him by his father ed.) in his hand writes his first song ‘Cento Lampioni’ ?
Maybe I would say to him: go on like this, writing songs that are a bit wrong, that will be a good training ground. Sooner or later you will find your style and your voice and the reward will be huge.

ligabue (7)The reference to Bob Dylan’s ‘Subterranean Homesick Blues’ in ‘At Least I Believe’, the friendship with Fernanda Pivano, delineate a Luciano very much linked to the beat-generation. What are your favourite books?
Here the list gets a bit long. Let’s say that among the first ones that come to mind are ‘On the Road’ without a doubt, but also De Lillo’s ‘Underworld’, Roth’s ‘Portnoy’s Lament’, Calvino’s ‘The Path of the Spider’s Nests’, Hornby’s ‘Fever at ’90’, Palahniuk’s ‘Fight Club’ and who knows what I’m leaving behind. Among the classics an epoch-making passage was definitely ‘Crime and Punishment’. I am now reading Dylan’s ‘Philosophy of Modern Song’ which is a truly outstanding essay/romance/confession.

ligabue (6)How much did ‘Altri libertini’ by Pier Vittorio Tondelli influence the birth of ‘Fuori e dentro il borgo’ and the film ‘Radiofreccia’?
“Altri libertini” is one of the fundamental books (I also loved Palandri’s “Boccalone”, also during that period) but Tondelli’s most extensive influence stems from the fact that, being from Correggio himself, he had shown me that what we had under our noses, despite the fact that it might not seem like a very interesting reality, was worth telling. What was needed was to see it with one’s own eyes and write it with one’s own voice.

ligabue (10)

François Truffaut used to say that the songs he loved the most were the dumbest because they were the truest. Which song of yours would you call ‘stupid’ and love?
‘Silly’ is an adjective I wouldn’t use for songs I feel so much affection towards. Perhaps the first one that comes to mind that is a bit ‘silly’ is ‘E’ from ‘Miss World’.

ligabue (4)Tondelli again stated that the only writing possible was ’emotional writing’, writing that is palpable in your songs and that you have somehow brought into literature and film with ‘the boldness and recklessness to do so’ (cit). Have you ever tried to do the same in photography? No, I do not have the tools to produce the same rate of emotion with photography.

ligabue (9)I am not asking you for balance sheets or even to sum up your life in one adjective, but I know that you have always loved the word ‘dreams’. So is there a dream in your drawer that you haven’t realised yet? And what other plans for the future?
I can’t help having the infamous ‘dreams in the drawer’. They vary, multiply, disappear, reappear in different forms. And who keeps them still?

ligabue (1)

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