marpado

But how much this jerk, a meter and a pear tall, got on our nerves with his curses and his "ohh ohh" and his little gay voice (no wonder the girl was then going to suck someone else's)... probably the catchphrase that annoyed us the most in recent years… and if I remember correctly, there was even the ex-girlfriend who released the reply single… how much I wanted to kill him that summer...

Another collection of songs from Vasco. Obviously, I have no intention of listening to it, but I fear it will be the same as all his other collections, meaning it will feature both the hits from the past that meant something, as well as the more recent nonsense that appeals to the average contemporary Vasco fan, crap that inevitably overshadows the other songs and contaminates the whole CD with their stench. A compilation that, as likely, is not wanted or directly curated by Vasco but is a result of commercial agreements with the puppeteers who control him. He, as a good fake moralist, complains to the fans, saying that he doesn’t want these compilations, the true and profound artist, but they are produced by the major label, portraying it as a greedy money-making machine, pretending to forget that without its (the label's) fundamental support, our dear Vasco would be breaking his back in the Modena hills, hoe and rake in hand… but for a while now.
P.S. I see that many here have grasped the irony of the reviewer, made extremely evident by the last paragraph...

Let's lower the average, come on...

Oh my God, is it male? Damn, and I thought it wasn't... the voice is in some ways similar to that of the Guano Apes' singer... goodness, mistaking a male for a female always gives me the creeps...

I read from the 5th line, from "volevo" to "pelle," and I have yet another demonstration of how effective the mainstream machine is with its relentless hammering. They brainwash you with that shitty music for weeks, for months, ten, fifteen, twenty times every damn day; wherever you turn, you're forced to listen to certain abortions, whether you like it or not, you memorize them, so much so that even if you hate Vasco with all your heart, you perfectly remember that this piece of crap came out in '98, and you recall what you were doing and where you were while you cursed like a Turk at yet another forced listen of those idiotic lyrics and those ultra-banal melodies. Such relentless squeezing would make even a true masterpiece unbearable, let alone this crap. In the end, you've learned them word for word, chord for chord, even against your will, and they convince you that they are instead "tied to memories, to your soul, your life" and similar bullshit. Professional brainwashers. They would even pass off a dog’s shit as a "fundamental moment of your life"... but fuck off.

One, two, three, fourteen... but fuck you Bono...

No, primiballi, I am just one, and I confirm what I feel towards a certain ignorant mass, which I believe Stoney and I have managed to describe thoroughly in a few sentences. The judgment on Vasco in his early days is one thing; another is the judgment on Vasco after the '80s and on those who allowed his survival first and his deification later. What I truly feel, without hypocrisy: hatred, which sometimes diminishes into pity, only to return to hatred every time I find myself discussing music and Vasco with the illustrious representatives of said mob (those who express themselves mainly with "Vasco is God, assholes, you don't understand a thing" and a few other phonemes, just to be clear).
Then excuse me, you yourself talk about managers, about the perfect industry. Now, what is this industry based on? On hordes of enthusiasts of good music? On sites like this? On masses of people equipped with at least a sufficient general culture? Or is it based on hordes of ignorant people (sorry for the repetitiveness) limited in knowledge and critical ability (like all the easy prey of the powerful "MTV-izational propaganda"), who moreover are distinguished by that minimal common denominator of ignorance (here we go again) and vulgarity, by that opportunism and laziness in everyday life against parents, teachers, employers, and society in general, as Stoney has clearly described? Just look at who and why finds in Vasco Rossi his mentor; after that, everyone finds within themselves the most appropriate state of mind to feel towards them. Mine, I repeat, is hatred. I don't want to be hypocritical and I admit, I am often impulsive. Hatred. If they at least had the ability to engage in dialogue, the thing might scale down to antipathy, but every time you try to reason with them and explain why their prophet has had so much success, they either fall silent without knowing how to answer or insult you. And this, let’s not kid ourselves, applies to at least a good 70-80% of Vasco fans, if not more. Only in Italy and in a few other underdeveloped countries could Vasco Rossi have had the luck he has had.

Stoney, you couldn’t have found better words. Without his fans, Vasco wouldn’t have existed, or at least he would have gone back to plowing the fields right after prison. Instead, we had to endure him because of those ignorant sheep-like buffoons, his disciples, who filled him with money and craved the life lessons from their guru... damned be them.

Yes, Stoney, alright. But what Primiballi is asking, as far as I understand, is to try to find, if it exists, that extra element, that something, that made Vasco and the culona become what they are today. Because the whole discussion about the majors and marketing explains only part of the phenomenon, certainly a large part, but does not fully encompass it: how many singers, bands, solo artists have emerged from nowhere in recent years, who were imposed on the world's attention, who appeared on radio, on MTV, who annoyed us for months perhaps with just one single, who topped the charts, etc., only to immediately return to the anonymity from which they came? Not everyone who ends up under the wing of the majors becomes Vasco Rossi and Laura Pausini...

It's obvious that there is an interest regarding certain phenomena, particularly those related to the socio-cultural aspect. It's obvious because anything—event, character, movement, etc.—that easily moves hundreds of thousands of people demands a somewhat systematic, scientific approach. Otherwise, if we limit ourselves to just throwing mud in reviews without adding anything further, we aren't that different from those sheep we love to attack. I regret not having studied sociology (I was told I have a knack for it) and being forced to interrogate the phenomenon with the "tools" of an ordinary layperson...tools which limit, for example, responding to your questions with: they fill stadiums with fans of different types because their target is a different kind of sheep: in a flock, there are sheep, various breeds, various types, there are goats, also varied, etc., but they are all still ovine. One achieved success because at the end of the '70s, in Catholic, hypocritical, and puritanical Italy, there was evidently a lack of someone who spoke so clearly and directly about what everyone pretended not to see. Then the record companies squeezed him dry with the results we all know. In Pausini, however, I see nothing, really nothing particular, no accurate "social fit": just a big-breasted woman who screams banality repetitively...she was simply miraculously lucky. So, when are you going to give us your answers?