Luigi Tenco is doubtless perhaps one of the most tragic and misunderstood statistics in the annals of Italian pop music. Generally ignored — you should definitely openly criticized — during his lifestyle, after his suicide he became the thing of the posthumous cult that changed him into an icon of despair and angst. He became symbolic of like and desperation deeply rooted in his very own time but additionally universal, even though his desperate like ballads and Sartre-tinged ennui had been only two areas of his complicated artistic character, which sometimes was ironic and socially conscious as well. Blessed in the tiny community of Cassine (near Alessandria) on March 21, 1938, Tenco shortly moved along with his family members to Genoa, where he befriended potential singer/songwriters such as for example Bruno Lauzi, Gino Paoli, and Fabrizio De André. After having performed saxophone with an Adriano Celentano German tour because of assistance from his friend Gianfranco Reverberi, in 1958 Tenco agreed upon with Ricordi, launching some singles through the pursuing years — frequently using the pseudonyms of Gigi Mai, Dick Ventuno, or Gordon Cliff. Having empty those aliases, between 1961 and 1962 Tenco released extra singles — “Quando,” “Il Mio Regno,” and “Arrive le Altre” — and 1962’s Luigi Tenco record, including “Angela” and “Mi Sono Innamorato di Te,” which would afterwards become classics. In 1962 he also acted in Luigi Comencini’s La Cuccagna. In 1963 his last one for Ricordi, offering the music “Io Sì” and “Una Brava Ragazza,” was censored due to its explicit lyrics. In 1964 he agreed upon with Jolly and released the socially conscious one “Ragazzo Mio,” implemented one year afterwards by his second record, once again merely entitled Luigi Tenco, whose features included “Vedrai, Vedrai” and “Ho Capito Che Ti Amo.” Having transferred to Rome, in 1966 he agreed upon with RCA and had taken part for the reason that year’s model of Un Disco per l’Estate with “Lontano Lontano,” completing last. The melody was afterwards included, alongside “El Giorno Dopo l’Altro” and a fresh edition of “Vedrai, Vedrai,” over the record Tenco. In Feb 1967 he participated, alongside then-girlfriend the Italo-French vocalist Dalida, within the Sanremo Music Event, but their music, “Ciao Amore, Ciao,” didn’t make it to the finals. The next morning, Feb 27, Dalida discovered Tenco’s deceased body in his accommodation, after he previously shot himself. His presumed suicide — presumed, because many state there were way too many secret elements included — converted Luigi Tenco right into a tale, a tragic and delicate figure that has since been the main topic of studies, tributes, and several posthumous releases.