Giorgio Gaber

Lyrics Gli oggetti Giorgio Gaber

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Gli oggetti


Nel frattempo gli oggetti erano andati al potere.
La loro prima vittoria era stata il superamento del concetto di utilità.
Piano piano avevano occupato anche gli spazi più nascosti delle nostre case e da lì ci spiavano.
Nessuno se n’era accorto all’inizio, anzi la loro silenziosa presenza sembrava piacevole e confortante, era difficile intuirne il senso sovversivo.
Dopo anni di schiavitù gli oggetti tentavano la strada del dominio…

Non si sa da quali strati sia cominciata la rivolta.

Negli anni sessanta il disco a 45 giri fu una specie di "Spartaco", ma già da tempo nei nostri salotti dominava la presenza dell’oggetto "Sapiens" , mentre le sorelle Candy, più stupide e viscerali, occupavano sgarbatamente le cucine e le stanze da bagno: nessuno aveva compreso il loro piano diabolico.
Appostati dietro le vetrine gli oggetti ci sceglievano selezionandoci in base al reddito.
Nessuna riforma fiscale avrebbe mai consentito un’individuazione più precisa.
Anche i più poveri che finalmente, per la prima volta nella storia, erano i privilegiati e forse gli unici a potersi salvare, avevano accumulato una gran serie di cazzate inutili.

Non c’era più speranza per nessuno.
La resistenza dell’uomo era sporadica e soggettiva, sì, troppo individuale… handicappato nel fisico, stupidamente biodegradabile, debole, fatto male, coi polpacci al posto sbagliato che non riparano, mai capito perché non gli hanno messi davanti, che quando picchi con gli oggetti, ‘STUCK’, lo stinco!

Cosa poteva pretendere l’uomo così fragile e così disfunzionale, anche la riproduzione, bambino, delicato, nove mesi di tempo, parto, magari difficile….
Loro ‘PLUM’, fatto! Bel vantaggio! Senza contare gli altri vantaggi: sentimentalismo quasi niente, assoluta certezza ontologica, visione del mondo chiarissima, visione oggettiva.
La Candy ha la stessa percezione di me che ha anche il tostapane, temendo, tutti d’accordo, avevano vinto!

Anche la mia vecchia tabacchiera che per anni mi aveva seguito come un maggiordomo fedele, andava con loro.
No, no da lei non me lo sarei mai aspettato, dal tostapane sì, ’TUCK’, antipatico, da lei così sensibile vederla partecipare a questa enorme sfilata di oggetti inanimati che avanzava vittoriosa dietro il suo leader naturale, la Candy!
La gente per la strada li osservava preoccupata, gli schieramenti politici purtroppo avevano cose più importanti a cui pensare, era la fine, avevano vinto!

La Chiesa sempre sensibile agli strani sconvolgimenti del tempo, come già aveva fatto molti anni prima con la donna, decise di concedere l’anima anche agli oggetti e come allora aveva rivalutato la figura della Madonna, ora aggiungeva al suo calendario una nuova festività: il Candy Day!

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Biografia

Giorgio Gaber (pseudonym of Giorgio Gaberscik; 1937-2000) was an Italian singer-songwriter, playwright, actor, cabaret artist, guitarist and theatre director, considered one of the most important artists in Italian entertainment and music since the Second World War. Born in Milan to a family of Slovene origin, Gaber approached music at a young age, performing in Milanese venues and collaborating with some jazz musicians. In 1960 he debuted as a singer-songwriter at the Sanremo Music Festival with the song "Il mio nome è", achieving modest success. Throughout the 1960s and 1970s, Gaber established himself as one of the most original and innovative singer-songwriters on the Italian scene, characterized by committed lyrics and experimental musicality. He collaborated with various artists, including Enzo Jannacci and Gino Paoli, and participated in numerous music festivals. Among his most representative songs are "La canzone del sole", "Il mio amico", "L'uomo che non c'è" and "Non ho paura". Gaber also dedicated himself to theatre direction, staging both his own works and those of other authors. His artistic career was marked by a strong social and political commitment, expressed through his songs and theatrical performances. Giorgio Gaber died in Milan in 2000 at the age of 63.

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