{"id":43050,"date":"2025-02-20T14:18:06","date_gmt":"2025-02-20T13:18:06","guid":{"rendered":"https:\/\/www.seeyousound.org\/?p=43050"},"modified":"2026-10-02T11:02:41","modified_gmt":"2026-10-02T09:02:41","slug":"jesus-loves-the-fools-intervista-a-mauro-ermanno-giovanardi","status":"publish","type":"post","link":"https:\/\/www.seeyousound.org\/eng\/jesus-loves-the-fools-intervista-a-mauro-ermanno-giovanardi\/","title":{"rendered":"JESUS LOVES THE FOOLS – INTERVISTA A MAURO ERMANNO GIOVANARDI"},"content":{"rendered":"

In the Milan of the 1980s, the furious tectonic movement beneath the surface of plastic music was clearly perceptible to anyone who wished to listen. People were trying to understand how it might be possible to create an alternative to \u201cSanremo-style\u201d Italian music, to the singer-songwriters who were still going on about the usual ideological stories (with a few notable exceptions), to the void left by the great bands of the \u201970s. Ferments are interesting because they suggest potential and sketch out hypotheses of creative development. In Milan a new independent record label was taking shape, destined to make history in Italian recorded music: Vox Pop. One of the first records released by this newborn label was \u201cBlues get off my shoulder\u201d by Carnival of Fools, a band that revolved around the figure of Mauro Ermanno Giovanardi, otherwise known as Joe of La Crus.<\/p>\n

“Jesus loves the Fools” is the documentary directed by Filippo D\u2019Angelo, Dimitris Statiris and Mauro Ermanno Giovanardi himself, which recounts this slice of Italy. It tells the story of an adventure that lasted little more than five years, with interviews with leading figures of that scene such as Manuel Agnelli, Cristina Don\u00e0 and Davide Sapienza, live footage, photos and concert posters, to illustrate the world and the cultural humus in which it all took place. The deliberately Off flavour tries to stay as close as possible to those years, shunning the nostalgic trap into which a project of this kind might fall. Carnival of Fools take their name from some lines of a poem by Patti Smith; Witt. \u201cA carnival of fools, of the seduced and the abandoned\u201d, recited in the documentary by Violante Placido. The feature film, released alongside the double CD The Carnival of Fools \u2013 Complete Discography 1989-1993, published by the label Area Pirata, retraces the story of a group that \u2013 to paraphrase Kim Salmon of the Beasts of Bourbon, one of Mauro\u2019s artistic reference points \u2013 had they been Australian and not Italian, would perhaps have enjoyed international fame. The band even opened the Nick Cave and the Bad Seeds concert at the Palalido in Milan in 1994.<\/p>\n

The docufilm will be screened during the eleventh edition of Seeyousound at Cinema Massimo on Thursday 27 February. The screening will be followed by a live set from Giovanardi together with guitarist Marco Carusino. On the occasion of this evening we had a chat with Mauro to find out a little more about those years and the work that followed.<\/p>\n

\"\"

Come stai Mauro?<\/strong><\/p>\n

It\u2019s a lovely moment in my artistic life, an important one too. I won\u2019t hide it. I\u2019m working on the thirtieth anniversary of La Crus\u2019s first record with a celebratory tour. I was pleased and surprised by the release of the record\/compilation that gathers all the work of Carnival Of Fools. And of course by the work done on the documentary and the presentations such as the one scheduled at Seeyousound. I didn\u2019t expect such an enthusiastic warmth from the audience; it is a collective narrative about that musical season and I have sensed that it has a powerful effect on those who have seen it.
\nI asked Manuel Agnelli, Cristina Don\u00e0, Giacomo Spazio, Davide Sapienza and many others to tell their stories. We do talk about Carnival, yes, but really about the \u201980s and how music was made in that period, about the Milan music scene. There are the perspectives of each of us, and each person tells how they lived through that season. I was surprised to find young people amazed by the things they discovered through this work, and it was gratifying. In particular the fact that everyone I spoke to told me that the Carnival record, even though it is almost 40 years old, sounds very contemporary. An experience that is giving me a great deal of satisfaction. It\u2019s as if I were reaping the fruits of work sown over so many years.<\/p>\n

The documentary “Jesus loves the fools” opens with the voice of Hugo Race of the Bad Seeds, who with his Italo-Australian accent tells you that you had a very Australian sound.<\/strong><\/p>\n

He only sent us the audio, probably recorded on his phone. In those days he couldn\u2019t get hold of a professional videomaker, and one night inspiration struck and he recorded it on the fly. Perhaps it\u2019s better that way because the effect is very fascinating and truly cinematic. When he sent it to me it struck me so forcefully that I would have kept it for 2 minutes on a black screen. It seemed immensely powerful to me.<\/p>\n

Last year at Seeyousound we screened the documentary on the career of The Birthday Party. In some way your films are connected by a common thread. What inspired you most in arriving at the Carnival of Fools sound?<\/strong><\/p>\n

I liked the American scene more than the English one. Because it took 1950s sounds, ingesting them, chewing them and spitting them back out with a more punk outlook. And I was truly captivated by this. Bands like Gun Club, Cramps, the Australian scene with Birthday Party, Bad Seeds, Beasts of Bourbon were doing that and I loved it enormously. They used this approach, unconsciously if you like, in combining love and fascination for certain musical roots. In equal measure, I tried to put into it the sounds I grew up with too. My mother, who had me when she was just past eighteen, had a house strewn with 45s and told me I was glued to the record player 24 hours a day. Logically, I absorbed a more Italian melody than an Anglophone one. And so my experiences are the union of the punk sound I had discovered and the one I grew up with. Without even realising it. It came out naturally.<\/p>\n

Why did you choose to sing in English?<\/strong><\/p>\n

At that time in England and the United States new wave, punk and post-punk were the musical avant-gardes, while in Italy we were still very attached to the Sanremo-style pop song. To break away from this model, all of us chose English. After all, the German and French bands of those years also sang in English. Then towards the end of the ’80s we realised how important it was to be understood by those below the stage, in front of us. And then at Vox Pop, of which I was one of the founding members, a huge number of demos arrived every week. And little by little more and more of them were in Italian. We sensed that, precisely because of our singing tradition, if you sang in English it was hard to break into the market even minimally. At a certain point the awareness prevailed that to turn that passion into a job it was better to sing in our own language. But when we all started out, we really didn\u2019t give a damn. We were too radical and convinced that that kind of music had to be sung in English..<\/p>\n

Was there a utopian idea behind the birth of the Vox Pop label?<\/strong><\/p>\n

Actually it was born for fun. We never faced the dilemma of doing something idealistic. We wanted to be a label that stood on its own feet with its own productions.
\nAs Manuel says in the docufilm, we didn\u2019t want it to be a hobby, but from the outset a sort of enterprise. Perhaps a bit naive because we lacked entrepreneurial maturity, but the approach was very determined.<\/p>\n

What was it like to open the Nick Cave and the Bad Seeds concert in 1994?<\/strong><\/p>\n

Extraordinary. The fulfilment of a journey. Had it happened a couple of years earlier I would certainly have paid a heavier price. Instead, in those months I was already finishing the first La Crus record, which we worked on for almost 3 years. In my head at that moment I was gradually putting the Carnival project away in a drawer, as for me it was reaching the end of the line, so it was less heavy from an emotional point of view. It was easier to handle because I had my head, heart and energy invested in the new adventure, which was musically at the opposite pole. We were the first in Italy, speaking of the work of La Crus, to work with samplers, trying to borrow the methodology of hip hop, where instead of rapping I was looking for a path to a new kind of singer-songwriter song. Super intriguing and fulfilling, because there was a lot of experimentation. So very far from what I had done with Carnival. But despite that, the night of the concert as support to the Bad Seeds was truly exciting and memorable<\/p>\n

In the documentary you recount that at that concert Nick Cave made a move on your girlfriend.<\/strong><\/p>\n

And how! It was really embarrassing for both of us. He was an idol as much for me as for her. But Nick\u2019s brazenness was absurd. He tried it on all evening and at one point he said to me: “look, if I shag your woman, I\u2019m giving you the chance afterwards to write more\u2026 tormented songs”
\nTruly an arsehole. Imagine that Nick often popped up in Palermo because Anita Lane, the woman of his life, lived there. And a guy from Palermo, after seeing the documentary, told me that exactly the same thing had happened to him too. Nick had made a move on his woman and had said the same line to him! Evidently it was his modus operandi.<\/p>\n

You have influenced many people, steering them towards music. How does that make you feel?<\/strong><\/p>\n

Good question. It can only be pleasing to have handed down, in some way, an approach, a vision. A way of being and doing. Making people understand how important their passions are and how good they are for the soul is wonderful. That you have to chase your dreams all the way. Until you break yourself. Those of us who do this job have the good fortune to leave a tiny mark of our passage on this earth, and it is a moral duty, towards those who don\u2019t have that luck, to give 110%. If after a new record I\u2019m not exhausted, it means I haven\u2019t done my duty as an artist.<\/p>\n

Riformeresti i Carnival of Fools oggi?<\/strong><\/p>\n

Many people are asking me, but my answer is always no. I\u2019ve changed the way I sing. Much more intimate, much more crooner-like. In the live sets I\u2019m doing after the screenings it\u2019s as if I had a more Johnny Cash-like approach than what Carnival used to be. I don\u2019t want to ape what I no longer am. Art is something else. My feeling, musically, has changed compared with 35 years ago. I\u2019ve matured. Fortunately. I put myself, and have always put myself, to the test continuously so as not to imitate myself. Always. And in fact I\u2019m very happy with the live sets we\u2019re doing, in which I musically tell the story of the musical evolution of that period.
\nRight now, though, I\u2019m also very busy with my new album of original material, which has been ready since before the last La Crus record came out and is my real priority. I\u2019ve worked on it a lot and can\u2019t wait for it to come out<\/p>\n


\n<\/strong>\"\"

Negli anni ottanta milanesi, il furioso movimento tellurico sotto la superficie della musica di plastica era chiaramente percettibile a chiunque desiderasse mettersi all\u2019ascolto. Si cercava di capire come sarebbe stato possibile creare un\u2019alternativa alla musica italiana \u201csanremese\u201d, ai cantautori che ancora se la menavano con le solite storie ideologiche (tranne un caso di notevoli eccezioni), […]<\/p>\n","protected":false},"author":35,"featured_media":43064,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1,827],"tags":[],"class_list":["post-43050","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","category-interviste"],"acf":[],"yoast_head":"\nJESUS LOVES THE FOOLS - INTERVISTA A MAURO ERMANNO GIOVANARDI - SEEYOUSOUND\u2122<\/title>\n<meta name=\"description\" content=\"Mauro Ermanno Giovanardi si racconta a Seeyousound: la Milano anni '80, La Crus e il documentario 'Jesus Loves the Fools' in un'intervista.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.seeyousound.org\/eng\/jesus-loves-the-fools-intervista-a-mauro-ermanno-giovanardi\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"JESUS LOVES THE FOOLS - 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