Fegiz entra in Rai a 19 anni, grazie a un concorso per programmisti registi. Viene affidato alla redazione di un programma che si intitola Per voi giovani con a capo Renzo Arbore. Seduto sul divano della sua bella casa con terrazza vista Madonna, flanked by his young companion, he tells it this way: "One year we decided to make a coup to get rid of Arbore. We went to speak to the manager of the network trying to convince him to do the direct thing I knew to be Arbore terrified. The network director agreed and, instead, as expected, Arbour refused, so I took his place.
At the time I was dealing with music, but spoken of services. I was wearing a jacket, tie and a crew cut. Perhaps it was this to convince management to give me the management of the music, that one does not understand a shit, which many argue still. " The fortunes of Fegiz knocks on the door, however, as two musicians who were around at the time of programs to listen to their songs, hoping to convince someone to pass. "One day in my office came two people were Battisti and Mogol. I did hear a song that went:" What do you know of a wheat field .... "It seemed to me just a masterpiece. I asked why they did hear me I was the last wheel of the cart, and Mogul replied: "Why Arbour says that this song has no future." I threw, he finished first in the standings. It was January of 1971. " At 23 he entered the Fegiz Corriere della Sera thanks to the recommendation of a friend of his father, owner of the Doxa. "Il Corriere gave me a contract from 200 thousand lire a month, but without the exclusive which continued to do radio. "At that time the director was Spadolini. Since then he has seen several directors than anyone else: Brass, Di Bella, Cavallari, Ostellino, Stille, Mieli twice, Folli, De Bortoli twice. "I survived 11-12 Directors: worst of the popes. Think about what I've been. The most fantastic was Brass. He understood the importance of pop music, the focus on young people. Thanks to him I had an extraordinary space, unthinkable at the time. "
In 1976 he was appointed music critic. In 1988, special envoy." I was lucky enough to catch the train of pop music just as he was leaving. Consider that in the '70s and '80s cinema and literature were very much in crisis. The only living art was pop music. At that time everything was more simple, it can not be denied: there was so much stuff and thanks to the songwriters - which I fully supported - Italy had a weight very different from what he has now. Suffice it to say that until the end of the 80 Italians in the charts selling more foreigners. There was the great overtaking the youthful pop, genre in which we are very weak. In addition, singer-songwriters over the course of time have lost their strength. Now then pulverized and genres of music are both Courier is Republic are lost before the current scene. I do not want the Gianni Mina, so everything is in the past is better than this, but we are sure that the Bastard Sons of Dionysus deserve an opening of the shows? What is certain is that interview Fabrizio De André was one thing, Cremonini is another, have equal dignity, but I do not know if they generate the same interest. "
In 40 years of work was able to interview everyone: Paul McCartney, Bob Dylan , Mina, Mick Jagger, Madonna, Elton John. "The only one with which I have never spoken maybe John Lennon." (And Kurt Cobain? "I do not remember, I do not think"). But those were times when the press even existed, and talk with the artists directly, without filters. If we share some hobbies, everything became easier. "At the time cocaine was a scourge in the sense that they used it all. But this was an incredible passpartout, which allows you to bring the artists: I admit that many of my scoop have been facilitated by the fact that I was using cocaine, which is not what I do in years. "Names?" If you forget, do not seems to be the case. "Tell me then, with whom he had become really friend." De André. He was very intelligent and extraordinary, but also a pain in the ass crazy. He lived at night, washed a little, woke up at midnight and began to break my balls. For a period I was also a close friend of Julio Iglesias. "Lester Bangs argued that friendship with the musicians of the music journalists was the grave of rock & roll. "The problem is when they make discs of shit: if you tell him you offend. My first boss always said: do not go to dinner with them, limit them to join later." There were other times really: it turned a lot of money, the trips were made exclusively in business and a positive criticism could also get to move 30 thousand copies. "Before I arrived, there was corruption and how. Just read the newspapers of the '60s: the critics did not exist, they were all geniuses, all good, no one spoke ill of anyone. I broke the eggs in the basket: I a good family, very well paid by the newspaper, and listened hard to really review them first. And then I was basically honest for aesthetic reasons: I always thought that the dishonest stank breath. "
" He wants to know the great fortune of my life? I've always had an excellent relationship with the directors, the company always gave me great confidence. I said: "This is a genius, give me seven pillars," and they gave me. Today it would give me even if I found out the new Bruce Springsteen. There was a willingness to take risks. My other hand was very fortunate to move on all means: I am not the best, but they are the best known. "Envoy of the first national newspaper, radio personality, columnist in magazines. The real fame, however, gives it to him television, first with Charles Massarini in Mr. Fantasy, then a guest in virtually ogni programma televisivo che – da Sanremo in giù – si occupasse minimamente di musica, fino a giudice in Music Farm . "Ovvio, a un certo punto mi sono accorto che ero diventato famoso: quando andavo per strada con un artista e la gente si fermava a chiedere l'autografo a me invece che a lui. Ma quello è il potere della televisione. L'altra sera ero a cena con Stefano D'Orazio dei Pooh e Mara Maionchi e la gente li chiedeva alla Maionchi".
Poi c'è tutta una scuola di pensiero che vede in Luzzatto Fegiz il male supremo del giornalismo musicale italiano. "Mi hanno detto che sono un usurpatore, che non capisco un cazzo di musica, che dico cazzate. Io ho la coscienza a posto. Non ne capirò di musica, ma so write and write for those who have never bought a record. Me in 10 words I can tell you who that group, what they do, where they come from. Buscadero and The Pile hate me because I'm rich and the beautiful house. But the real selling is you: how can you be free advertising if you pay Warner?. "Look, we limit us pay Prada." Come on, then you have the prestigious brand. "Oh well. Finally: any regrets? "If I am reborn a sportswriter: those have 11 players they can write. We have an asshole on stage, at best two. "
(Photo: Jacopo Benassi. ADVERTISING on Rolling Stone in February )
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