There are a few issues that you should discuss with Italians only if one knows them well enough to get a faux pas tolerated. One is the Cantautore Marco Masini. For which there is no intermediate shades - he is hated or loved.
http://www.youtube.com/watch?v=7NgDpf-WXqs
The majority berwältigende especially the male Italians can start with pure Masini anything and to a corresponding question is usually obtained in response: "Masini? Since I can not still the same cut their wrists. "In contrast, there is a small community of enthusiasts whose devotion to the Florence songwriter already enough to celebrate the cult and its concerts as fairs. Even as the young Masini, to the rest of Walter Savelli, his character pianist Claudio Baglioni, took under his wing, was confronted with the fact that his songs were "far from the" from the record publishers described as "what people hear wanted ". And probably that's why I am rather a series in which to keep the Masini for one of the greats. Masini sings what motivates him, not what people want to hear - even for Laura Pausini and Eros Ramazzotti are there.
Masini has remained unadjusted, unreserved meticulously examinierend his navel and his soul into the world screaming pain. Little of his lyrics goes easy on the ear and also as a trace. On the one hand, he sings about the dark side of love, loneliness, despair, pain, hatred and violence, on the other hand, already has his choice of topics far removed from what you get as a commodity is usually pre-set radio Sun "Babbo Caro" is a late letter to his father, with whom he shares a more multifaceted relationship in "Princess" is described in clear words emotional power of the father against his daughter ("un padre senza che l'anima mangia un po ' Tues sé /
e l'angelo che ha Crocifisso C'era dentro te ")," Dal Buio "describes a tiny moment of a blind beggar, the" out of darkness "takes an angel in the form of a passer-by the hand and leads across the street," Frankenstein is "a monument of a song for a school friend who is terminally ill in the hospital.
And even in his very own habitat, the love song, he gives his desperate voice, the injured, abandoned, vulnerable and lonely. And right here is explained so the rejection of many Italians, many of his songs, the love light from one side, we do have probably all experienced, we only want to admit too happy to go and of which we are in doubt, also recalls not so much want to. He expressed himself in this 2004 concert from once so that "you can choose either to describe the world as they would have liked or as it is in reality." And his reality is just the dark side, as indicated:
Marco Masini: Tues Voglia Morire
Lasciaminonmilasciare is artistically valuable antidote to Matthias Reims "Damn, I love you." Where Reims tools at the incredible imaginative line "I love thee, I love thee not" on strike, designs Masini an entire scene in one angeranzten oceanfront hotel, which is about nothing other than the desperate links between "leave me, leave not me. " You can obviously also be expressed without having to make a flat street song out of it, but also lay the same banality into a melancholy little scene, some in their immediacy then all the more true in the pit of my stomach - evoked empathy in top form. And exactly what is art - the struggle to find a language that gives expression to his own inner world in a way you to find another relationship. And this one must know neither where Viareggio is still smoking cigarettes - the fervent supplication, but leaving him with three cigarette without matches, please simply a squeaky clean at the end of the match is repeated dozens of times lasciaminonmilasciare.
Marco Masini: Lasciaminonmilasciare
Of course, all this brings me to not to cut my wrists. For me, Masini is one of the greatest poets that Italy has ever produced, as far as the power of his images and the complex structure of his verse. A very catchy, almost tender piano is often in contrast to the often fierce, hoarse voice, without lapsing into kitsch - but his lyrics are too ambiguous, and complex image-laden. Often his words relate their immediate effect from his undeniable talent to find strong metaphors for basic emotions of human existence and thus creating a relatively direct relationship to the attentive listener. But of course you have to - for Italians - only once so far and embark on Masini - be reasonably powerful the language - for German. In any case, I mean, it is worth dealing with Masini move without him right at the corner of prophylaxis in depressive crooner - artistically, he is also far superior anyway. Then you can still reject it, not what one can accuse him is that he bends at some point:
Vaffanculo solved in conservative Catholic Italy made a big splash, but also established its worldwide success. The piece can be found on the 1993 album "T'innamorerai" and has been indexed and discussed very excited and is still today as a piece of every Italian known. The album was anyway - who would have thought - a Europe-wide success and so can be found on the 1995 album "Il Cielo della Vergine" with "Pricipessa" ("dolce figlia di un hijo Tues puttana") and "Bella Stronza (" mi verrebbe Tues strapparti Quei vestiti because puttana / e tenerti a gambe aperte finch viene domattina ") both explicit and successful titles. While he turns into Vaffanculo against the hypocrisy of the music industry and the conformism of his colleagues, focuses on "Bella Stronza" quite ironic self-reflection and the tension between female beauty and male self-destruction. Just with words that are found in the home of the hour-long tirade on stage should not take by mouth. (Did I mention that Masini has his problems with bigotry?)
But before the impression that Marco Masini was really a crazy, self zwerfleischender Jammerpoet here at close to a simply beautiful ballad dedicated to nothing but a past summer love.
Marco Masini: Ci vorrebbe il mare
e per questo amore figlio Tues un'estate
vorrebbe ci il le sale by guarire Ferite
Sorrisi dei bianchi fra le labbra pink
imagine a contar Mentre il cielo si Riposa
