«I have had the privilege to grow up during a cultural revolution. And music was a part of it. Maybe I've been nothing but a pawn, but I'm happy to have contributed to change something in any case.» Patti Smith

Train journey, return to Bologna. Apennines as far as one can see. The villages, fields, vegetable patches, pastures. That is where the great Italian food revolution started, in that immense periphery that is full of details. The news, in its essential form, is all there. A lot of things have happened in the production chain and producers - artisans in the forefront - are the absolute protagonists of the contemporary in our world. And the restaurants? The restaurants are left to a natural evolution of technical expertise that has grown, of some talent, of some extraordinary soloists. Trattorie are the ones to have benefitted from the production chain renaissance and the most explosive energies, for contiguity and affinity, ended-up on their tables, which have become protagonists of these years. Up until here was news, but if one tries to think about the future making predictions one could expect this generation of talents, who today are in their 30s and have very respectable CVs, to revolutionize high-end cuisine with freedom and personality. I thought about it one evening while dining at Marco Martini's Stazione di Posta, Testaccio, in the heart of Rome. And I am talking to him, but also to a generation who is too constricted to their ranks, forced in the standards of an ever more international cuisine that is increasingly accessorized with stones, spheres, bonsai, smoke and other creations. I think about Gianluca Gorini (at Giare in Montiano, after a number of years spent with Lo Priore) or Luciano Monosillo (Pipero al Rex in Rome) to make two examples. But also many more. Marco's talent comes out of his dishes, but the scenic repertoire is misleading and fills the field with a rhetoric that no longer amazes and maybe no longer appeals.

It would be nice if this generation, suddenly, took to the streets to protest, questioning high-end cuisine institutions, the "family", the currently unquestionable values of their aristocratic curricula. A 1968 protest of chefs. Away with stones, ties, bonsai, the bourgeois soul of restaurants, the liturgy of starters to impress, the good manners, the mannerisms and in with farmers, freedom, artisans, tattoos, Italian landscapes, the vulgar tone, the naivety of new, the swerves. A short circuit restaurant-production chain that scraps all the avoidable in a single shot. And away with the shades that move between essences, lichens, conifer resins and banal smokes. There are details you dedicate too much energy to. We want you to be more free, at last protagonists of a cuisine that turns down the masters and build a new relationship with the dishes. You cannot think of an Italian cuisine that can do without knives and wonders lost in the woods forgetting the substance of a production chain that is rooted and unlike any other for variety and quality. It's about time and you have the means to do this. Apart from anything else it would mean being aligned with contemporary society. Because you no longer have those never ending brigades, because the top-down contamination is a number of modernity, because you often lead lives with a different style from your cuisine. And certain experiences, I am thinking about Marianna Vitali of Sud, about Gennaro D'Ignazio of La Vecchia Marina, about Mattia Spadone of La Bandiera, about Francesco Rizzuti, anticipate a new register where trattorie and high-end cuisine blur, where some luxuries have been taken away to make space for liberties (and for truths). Each generation plays its own music, you risk playing (very well) that of the generation before you. You will never reproduce a cuisine you have learnt better that those who taught it to you, you might get close to perfection in the execution, but it would not be a result for your generation. You have the chance to invent a cuisine that interprets the times, which looks around, which represents something. And when there is talent, like in your cases, this becomes a duty. This is why the bonsai, the smoke, the stones, the fake mussels increasingly look like a dance on the Titanic.

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