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"I know it's not-easy for-them, but neither for me."
Spitty Cash
"But what does he want them to be?"
Robert Di Giovanni to Maccio Camariottide
"Sossoldi!"
Maccio Camariottide on Spitty Cash
It was the summer of eightyeight, and now he's eighteen; Spitty Cash is the living symbol of the hardships encountered in the ghetto.
When you live in the ghetto as a child, you don't realize the family situation: you're a little greedy, you want everything for yourself. But Spitty Cash had to grow up fast: a life dedicated to rap, a life fought alongside rap.
When our Balkan hero reached the age of a fewmoreyears, he had already decided his fate: he would make CASH!
But what is Cash? Cash, as our great songwriter narrates, is something transcendental. It is a style, an ideal, a reason for living, a hope... an illusion. And he is Cash, Spitty Cash. Spitty Cash, the man determined to do anything to pursue his ideals: to form a small group and make CASH thanks to rap.
In a few aeons, despite his dedication and immense talent, Spitty renounces rap. Due to this decision, he chooses to dedicate himself to a normal life, wanting to have ahis back covered, according to him. But by chance in his rural-suburban block, he comes into contact with some of the most important local artists; thus a band of gangsta mafioti madafacca specializing in wasting time through group onanistic practice was formed.
But the fateful day came when said individuals' sexual organs went on strike, feeling abused by the oppressive ghetto society, where everything is dark and gloomy. A massacre ensued, an internal war between rival gangs caught in paranoid mass hysteria from which only Spitty Cash and a few others survived.
Here begins the third phase of this tormented artist: with his morale fallen, being able to rely only on his heart, Spitty gathers his comrades-in-arms: Kujo, Rooley, the C-SOLDIERs, and two little puppets of ancient Romans.
From here, with inhuman cruelty and cold cynicism, the CASH Empire is founded; truly a great record empire that can finally find an outlet with a production deal with the amateur video giant, YouTube.
And so Cash lands in Rome and Milan. And from there his story becomes a legend throughout Italy.
Spitty is a genius of rhyme; indeed he reworks the ancient Latin metric through a fusion operation with the most extreme Mcing techniques. The result is a product of extremely high technical level, with delirious assonances, unpredictable rhythm, Baroque warbles of rap fired with irregular cadence (irregular!) by our Spitty. The language can be defined as "artistic," being an Italian enriched by the Latin technique of "half-sentence caesura" and some original popular slang words now common like "Yo," "Frà," "Madaffacca"... The accompanying piano is the pearl that surrounds the excellent composition.
But the true greatness of these madaffacca lies in the great philosophical questions they pose through the text. But what does the modern man see in the eyes of poor children? The ugliness of a world torn apart by fame? The selfishness of an overly aggressive society? The mistakes of parents that fall upon their children? This rapper leaves us with a great message of personal unease towards these children; a message that can be grasped, however, only by a few, very few.
Among the extras, we can catch a quote to "Area" in the phrase: "And don't say dammit, when Spitty is in the Area". A tribute that certainly all of you have already correctly framed in the "global" musical vision of this artist.
Superb video, made with the most modern technologies of neo-postrealism, excellently interpreted by a brilliant Spitty and the immense cousin Kujo, who gives us a great demonstration of style and humility.
Clearly, being able to vote from 0 to 1 for this great single, I can only give the highest rating to a true artist; an artist of substance who, like the greats of history (Shakespeare, Alighieri, Verdi, Zappa...) manages to blend great lyrics with an important social theme.
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