Il disco non era pensato per essere un elemento di conoscenza, il disco era pensato essenzialmente come strumento di piacere dell’ascolto. Un dialogo con Alessandro Portelli

The dialogue between Alessandro Portelli and Antonio Fanelli highlights numerous connections to the themes explored in essays on «antagonist discography»: from the radio model that inspired early folk revival initiatives and the musical narration of history, to the pioneering – yet ultimately controversial, due to its modest impact – attempt to document the political reality of marginalized subaltern classes. Ultimately, a poignant paradox emerges in the history of Italian antagonist discography. While vinyl was a familiar, everyday medium for the youth emerging onto the public stage as a new political force – forging a «militant» aesthetic through sound and music – the effort to preserve ethnographic, social-inquiry, and oral-history experiences on record remained a marginal cultural endeavour, constrained by severe limitations in accessibility and distribution. Working-class communities, particularly among older generations, often lacked record players, whereas for activists and students, these records became, at best, cherished collectors’ items or symbols of identity. The sonic utopia envisioned by Gianni Bosio and Dischi del Sole – who declared in their 1973 catalog that «records communicate to everyone, books do not» – remained, in essence, unfulfilled.