Simone Fortuna, a veteran journalist who spent nearly four decades documenting culture and music in Florence, died at age 68 at the Santa Maria Nuova hospital following an ingenerosa malattia. According to reports from his colleagues at Repubblica, the Tuscan Press Association, and the Order of Journalists, Fortuna’s career spanned from 1981, during which he shaped the cultural narrative of the region through his work at La Nazione and Repubblica.
Fortuna began his professional trajectory at La Nazione in 1981. By 1988, he had risen to the position of deputy head of service and became a primary figure in the publication’s entertainment coverage. His reporting focused heavily on rock and pop music, treating these genres as gateways to global trends rather than narrow specializations.
During this era, Fortuna traveled to the United States and Japan to cover global icons like Michael Jackson and David Bowie. He specifically documented Madonna’s 1987 Italian tour while simultaneously tracking the rise of the new wave scene in local clubs and the emergence of the band Litfiba in Florence.
In 1988, Fortuna transitioned to the newly established Florence office of Repubblica, a move driven by Eugenio Scalfari. He managed the culture and entertainment pages until 2016, when he decided it was time to step away. His approach to cultural reporting avoided treating the arts as a protected sanctuary; instead, he sought the “contemporary,” focusing on current events in theaters, records, and exhibitions to identify future trends.
Did you know? Simone Fortuna’s reporting style emphasized the “detail before the celebration.” In a 2012 piece about The Smiths’ 1985 concert at Tendastrisce in Rome, he focused on the cultural artifacts of the time—TDK 90-minute cassettes, Controradio, Videomusic, and the record shops of via Porta Rossa—rather than starting with the artist.
The “Nocciolo” Method: Finding the Core of a Story
Fortuna’s journalistic philosophy centered on finding the nocciolo, or the core, where a subject stops being a mere topic and becomes a narrative. This method allowed him to pivot between diverse subjects—from the music of The Smiths to Alessandro Pavolini or anti-fascism—without losing stylistic consistency.
Colleagues describe his writing as “soft” and “deep,” masking a rigorous internal engine. He was known for a precise, sometimes sardonic editing style, capable of identifying a weak phrase or a structural flaw in a piece instantly. Despite his intellectual depth, he avoided using his knowledge to create distance between himself and his subjects or junior colleagues.
He believed that journalists who consider themselves more important than the stories they tell eventually burn out.
Legacy of Mentorship and Civic Resistance
Beyond his published work, Fortuna is remembered as an intuitive leader who mentored young reporters through a combination of “amused patience” and strict corrections. He avoided formal investitures, preferring to guide colleagues through a process of questioning and critical feedback.
His personal values were deeply tied to the concept of the Resistance and rebellion against injustice. This influence extended to his family; his son was named Bruno, a choice reflecting a commitment to men who symbolized the fight against injustice.
Comparison of Career Milestones
| Period | Organization | Primary Focus |
|---|---|---|
| 1981–1988 | La Nazione | Rock/Pop, Global Tours, Local New Wave |
| 1988–2016 | Repubblica | Culture and Entertainment Leadership |
Frequently Asked Questions
Who was Simone Fortuna?
Simone Fortuna was a journalist who spent nearly 40 years covering culture and music for La Nazione and Repubblica.
Which artists did Simone Fortuna cover?
He reported on global figures including Michael Jackson, David Bowie, and Madonna, as well as local acts like Litfiba and bands such as The Smiths.
What was Fortuna’s approach to journalism?
He treated journalism as a professional service to the country, focusing on the “contemporary” and seeking the core narrative (the nocciolo) of every story.
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