This was not the song that Celentano planned to take to the Sanremo Festival in 1966, or at least not the only one in the running, since he had also auditioned with Nessuno mi può giudicare, which then ended up in the hands of Caterina Caselli, and we can say that it ended up in good hands. The communicative urgency that a song like Il ragazzo della via Gluck imposed was probably what finally prevailed and even though the lyrics were written by Luciano Beretta and Miki Del Prete, there was no doubt that it reflected Celentano’s way of thinking in terms of ecology and environment, unknown themes in the political and social debate of those years, let alone in the world of pop music. The impact was very strong and the song’s prompt elimination turned out to be futile. It did not qualify for the final evening of the Festival and was rejected as a foreign body by an environment that was barely digesting the presence of hair on the stage of the Salone delle Feste in the Sanremo casino. The audience, however, sided en masse with Celentano and the song was a resounding success, thanks also to the very familiar melody, both in the verse and refrain, a sort of popular song in the mouth of an interpreter who made it clear that anyone would be able to sing it. And this was actually the case with the many homemade guitars populating the homes of young Italians. And there’s no doubt that Il ragazzo della via Gluck started the ecological trend of both Celentano (who repeatedly tackled this theme) and Italian song. In a double performance “il molleggiato” invented an improbable Trio del Clan (formed by Ico Cerutti, Pilade and Gino Santercole), present only because each song in the competition was to be performed twice. But the history of the song was now marked, and not only in Italy. In France it was recorded by Françoise Hardy (La maison ou j'ai grandì), in England and the United States by Verdelle Smith (Tar and Cement), in Norway by Margrethe Toresen (Lykkelige Gate), in Germany by Camillo Felgen (Der junge aus der via Gluck) and in Denmark by Sys Gregers (Barndommens Gade). Not bad for a reject from Sanremo.