Per prima cosa un grandissimo ringraziamento a Marco per aver gentilmente deciso di rispondere alle mie domande.
Davide: Caro Marco, quanta importanza ha ricoperto la musica nella tua vita?
MG: Sin da piccolo la musica ha portato dentro di me l'anima, il suono, il rumore, il respiro e l'alito, anche se a volte molto cattivo, del mondo. Mi ha "comunicato" le vite, gli stati d'animo, le sensazioni ed i sentimenti di gente lontana, diversa e con storie diverse, mai vista, che mai avrei veduto e vedrò, molta della quale ancora oggi vive nel profondo del mio cuore e nei ricordi del mondo dell'immaginazione. La musica è stata, “è” e sarà sempre la mia vita, un altro mio modo di parlare e quindi un ulteriore modo di "dare", ma non nel senso univoco del "donare", anche se in qualche occasione è avvenuto, e di questo sono molto felice.
Davide: Che genere di musica ascoltavi e le tue passioni da adolescente quali erano?
MG: Le mie passioni erano abbastanza variegate. La chitarra e la musica, la musica e la chitarra, la chitarra, la musica. Per generazione provengo da tutta la cultura rock anni '70, e soprattutto dal "Rock Progressivo" dei Genesis di Peter Gabriel, Pink Floyd, King Krimson, Yes, Gentle Giant, Italians Banco del Mutuo Soccorso, and others. A kind, especially that of Genesis and Yes, that was a well-defined musical style then known as "Romantic." Went beyond the psychedelic Pink Floyd to land in a world where anything, even more intimate communication of colors for a delicate and subtle approach first, then open within you with all the strength of rock, fantasy, of the stories told around the campfire tales of distant dreams, memories and stories of worlds ever lived, but since then absolutely yours. In the 80s this kind of music is then led to a new musical style and thought that is "New Romantic", the evolution of "New Wave", and that stood out for bands like Duran Duran, Freur, Roxy Music, etc.., aware of what I have done that Glaucus and part of which still belong. However, Middle European culture and never or very rarely, policy choices aside, the United States.
David: Excellent guitarist Mark ... When did your passion for this tool?
MG: The love for this instrument as a child and was born by chance. I come from a family and a very poor neighborhood at the time. We lived in a house with no heating in winter and my father got out of bed and went to "strong massaging" the covers mine and my younger brother in the mode of riscaldarci per un pò. Sotto la nostra abitazione c'era una falegnameria della quale, io bambino, tormentavo quotidianamente gli operai perchè mi facessero una spada. Non ne potevano più ma effettivamente mi avevano “adottato” e, pazientemente, sempre accontentato e viziato. Ero diventato la loro mascotte. Contemporaneamente, alla tele vedevo I Rocks, Vnillas Fudge, Afrodite Childs, Equipe 84, dei quali ero profondamente innamorato del suono ed affascinato della forma a freccia delle loro chitarre. Così, tanto oramai era casa mia, con la sfacciataggine dei bambini andavo ad elemosinare un pezzo di scarto di compensato, nel quale disegnavo e poi ritagliavo queste chitarre, corde comprese. Quando erano finite, visto che era tutto drawn, the shouldering and pretended to play them, so, with the mouth ... "Blen, Blen, Blen ...". At some point this woodworking began manufacturing electric guitars and I always being there, I went crazy. The were also small as 3 / 4 for children and were the first "string" that I touched .. Were cheap but I could never even have one. Every time they made a new I was the first to be called. If I concentrate I can still hear the sweet smell of glues and paints. Then my father made a fortune and we have changed life, but I, unlike her, I never wanted to forget ...
David Unlike keyboards that have had a constant evolution nella progettazione e nella costruzione, la chitarra elettrica è rimasto uno strumento pressoché uguale ai modelli che si sono imposti alla fine degli anni '60. Le chitarre di allora sono le stesse vendute ancora oggi, ciò che invece è cambiato in maniera radicale nel corso degli anni si riferisce alla tecnica d'esecuzione grazie alla popolarità di alcuni grandi chitarristi che hanno rivoluzionato la tecnica esecutiva sulla sei corde. Sei daccordo?
MG: E' vero. Considera che gli anni '80, sono stai anni di apoteosi delle tastiere mentre le chitarre sono state in linea di massima relegate ad un ruolo secondario se non marginale. Fortuna gruppi come i Roxy Music con il grande Phil Mazanera (credo si scriva così), Police, King Krimson and that with the album "Discipline" have turned a big 80 "lighthouse" for all of us guitar players, or at least to me. Today we are witnessing a great evolution of the instrument, but evolution has unfortunately affected and almost as a rule, except for rare cases of great artists, only the technical side in a narrow sense to me too, where the only problem seems to be the speed of run. Obviously the so-called "speed" is a very important part and is given by years of sacrifice and exercises, but I think the most important factor of all "the words" on the instrument, whatever it is, and then executing is the ability artist of any discipline, to 'talk' ... emotions in the first place. This is the difference between a violinist Uto Ughi and a row, including Michelangelo's drawings and those of the most skilled and paid engineers in the world. Not by chance I happen to have metal guitarists as young students who come from fear, but with techniques that come to me to perfect "touch and bandig. What I tell them is that now is the guitarist as "the fastest gunslinger in the West" ... "There's always a faster". ... And that, with all due respect, is the circus! ... What should express what they have inside, deep down, and thrilled. Let go! ... And letting go is to blows with being forced to be too vigilant. Not you have to prove, you have to give! If you can make out what you have in the soul after a while you'll have a way you sound like you have your way of thinking, loving and feeling. Will be unique.
David: What do you think of the new Italian progressive rock guitarists?
MG: Honestly! The last contact I had with the metal in all its variations has been four or five years ago when I had the honor of being chosen as the artistic director, author and assistant director of a television program called "Livin 'Live "where groups promote young emerging Italian and European (especially English) and ran for about a year and a half on SKY and ETV. Through this I also had the opportunity to organize two major live events which included a dozen of these groups and thus be in direct contact with them. I must say that I believe the principle reflects the above but in at least four cases, two Italian and two British, I was really fascinated.
David: There is now some artist or band that followed with interest in the field
music?
MG: A few years ago I had a major crush on the "Korn".
David: What does it mean to have addressed the world of pop music, TV and all the rest?
MG: Having had a great chance for the child behavior unfortunately someone has been lucky to only partially lost, but however, that cost the undersigned and the Sor Glauco more years of pleasant but luckily immense sacrifices ... as well as a few dollars.
David: We reveal some anecdotes about "Diamond"?
MG: As you know we all come from the province and this sudden popularity has very scared and disoriented. We knew nothing. The first release "visually" with Diamond was at the indoor stadium of Pistoia do not know for what television program. I think Rai 2. It was full of people with links and banners praising us and we were terrified. To me then, so timid, the impact the play had sent me back into paranoia. It is one thing to play ... You move! Another is to "move" by pretend play. I did not know how. So, while I was there and I could not wait for it to end, I was reminded my idol David Gilmour of Pink Floyd, and so I started to imitate him. There were many journalists and while we were leaving one of them (think of the magazine "Musica"), I yelled: "Didst thou appear Bravooo !!!... Gilmooour !!!..."
David Via The Greens were very popular in the 80's ... Can you tell us what the world record at the time, and how you were treated?
MG: It was a madhouse! But I must say that on balance, given the popularity of the game is absolutely worth the candle. So much so that all those who speak ill of us o di quel periodo, sono poi i primi a rispondere ai blog e a presentarsi come protagonisti assoluti e primari o in qualche modo a fare proprio lo spazio ed il nome Via Verdi. La fiera delle piagnone. Ma è una tecnica antica come l'uomo. Ci sono anche io ma parlo male di te così sono meglio di te. Non ho mai sopportato chi fugge. E' un comportamento da vigliacchi e quella è e rimane una teoria da sfigati. Se hai un problema non scappare ma affrontalo e risolvilo!
Davide: Perchè nel 1988 tutto si è bloccato? Dopo tanti successi come "Diamond", "Sometimes", "You and me", "Trailer", cosa effettivamente è successo?
MG: A noi è andata molto bene, ma il nostro successo ha coinciso con un grande cambiamento epocale. L'avvento del personal computer, l’avvento di internet ai primordi, e quindi l'inizio della fine delle case discografiche. I fatti si riferiscono all'89. A parte screzi personali, tecnicamente parlando, e qui do atto al grande lavoro di Glauco ed in secundis anche a quello di Armando, in Italia eravamo anni luce avanti a tutti gli altri. Una specie di Pink Floyd ma molto più poveri. Mi ricordo benissimo quando la giapponese AKAY, tramite l'importatore, ci faceva testare le ultime macchine appena uscite sul mercato. Anche io, primo in Italia, ho avuto l'occasione di testare e di fare una dimostrazione dello "Shadow", il primo microfono per chitarra "Midi". Con esso, tramite la chitarra, era possibile suonare and drive the keyboards connected to it via Midi. This technology was also obviously a cost study, as even these had to be up to strength and the best. Penalty: frustrate a lot of work! All good until the contract with the memories that came out with "Love is a dream." Everything is fine until two things happened: 1
- The crisis of the record company
2 - The resulting change of its management thereof.
The record sales were already declining alarmingly and that year eight artists who showed up to remember the San Remo went bad. This provoked an immediate change of all management employees between the company and there was also removed our art director as well that a drastic reduction in the budget already agreed. Because we as a society much of the anticipated costs, expenses which would then be returned through the budget, we found more total uncertainty. This, coupled with the fact that Love is a dream, despite the 10,000 copies sold in five days and despite the thousands of requests, it was immediately and inexplicably taken off the market (but I now know why! Then maybe I'll explain ), we were very scared. Combine that with this as we were also ripped off "Tazenda" which was released simultaneously with a hard Jovanotti home-made and cost thus making our great technology obsolete and too expensive, when we came home at the end of '89 we found our studio destroyed by thieves and cleaned of all sons of bitches, so it was that after the concert in Rome last September 19 in front of 7,000 people 89 (Prince interrupted the tour because his 5,000 were few), we had, now disgusted by so many suffered harassment, many of those behaviors that we considered as well as fellow "friends" but then turned out to be what in fact were and are probably tired of everything and everyone, without more energy to once again start all over again, we've closed their doors.
David: What kind of relationship you had with Claudio Cecchetto? And indeed influence the policy choices of art and music?
MG: Claudio is Janus-faced. A nice guy, a great talent scout, a great entrepreneur, but just out of the Municipal Sanitarium. As for politics: yes! Sometimes it happens. See the great nomads who have been and are at the center one-way to all parties Unity and heirs. But perhaps more going on in the past.
David: You have a curious thing to tell us, in relation to your golden age (80s)? What do you remember those years? One episode in particular?
MG: The events are many but I think I already answered.
David Track an opinion about national and international music scene to date ...
MG: It seems like a frantic search and vigorous one-way talents in singing. The problem is that when they find they have nothing to sing because they no longer seek the talents and creative ideas. Always turn them, and do not propose anything. As if the audience was made up of a bunch of idiots who do not have to break my balls and that's it. Sing - sing a song but can not remember. In fact, more often you hear them try their hand at songs of Jerry Scotti passato.La transmission and counterparts, the San Remo and several colleagues confirms quite believe my reflection.
David Via Verdi I still exist! Tell us about your last job, possibly in programming ...
MG: The fatto che un componente decida che è meglio andare in vacanza o che un altro decida di fare il giro del mondo in 80 giorni, se non viene meno l'anima creatrice di cui sopra, nel nostro caso il binomio purtroppo per alcuni "artistico" della band, non fa morire un modo ed un mondo. Se cambi moglie non è che sei più bello o più brutto, e soprattutto non è che non sei più Davide Curci con tutti gli annessi e connessi.
Quindi: "Per dindirindina!!! Cerrrrrrto che i Via Verdi ci sono! Eccome!!!
Scherzi a parte (non scherzo affatto!) è ovvio che cambiamo anche noi con il cambiamento del mondo e delle cose e soprattutto... del mercato. Non crediamo più nel mercato discografico perchè internet fa quello he must do and is good to do so. For us "the new album" a gadget is slightly higher than the "cap" or "badge", a way to reach people and make them your art. And for a fee or not, in any way it is, so is ok. What matters most to us today, without denying or denigrating the past then how does someone in this way also denigrates and denies himself and his past life, is the direct contact with people in our case, thanking the Lord, it is so, then our "Live". Everything is focused and aimed at what we can give our audience in every part of Italy welcomed us with great enthusiasm and lots of love. This has influenced the choice of record this album live and that's how you'll find on the Internet. For those who want just the traditional media that let us know or they ask during the concerts. What you probably will do instead in a "record" is a publication of vinyl through a great amateur record Dutch.
David's popularity is an advantage or a disadvantage?
MG: Both. In times where there is more privacy and pulling against your family is a disadvantage.
David: To date, glimpse of the new Via Verdi in circulation?
MG: I already answered.
David: What relationships are with the old Via Verdi?
MG: Well with all but one. We've been bad for them because I did not expect and I always thought, as I always did believe that it was a great friend. Today I can say with a vague and more latent regret that I do not give a more sound ... nothing. I have devoted too much time. So: happy birthday, lots of luck and full speed ahead!
David: Dear Mark, last question ... A cool head and after so many years, what do again and what not to do again this way of life that gave you so much, but just as you took off?
MG: Basically what I would do it all done, but my greatest attention riporrei the family and those who actually "deserves" no make concessions to anyone, which is what I'm doing now for a long time. The theory of "Mother Hen" to me does not carry well and with some / el 'affection, personal example, all the love in the world is nothing but trouble and lost time.
Thanks Mark!
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