Sottomessa translates to "submissive" or "subdued." It's an interesting word because it describes a dynamic of power and control within a relationship, which is a common theme in many songs.
In the lyrics, the line "Vuole fare la cattiva, ma l'ho sottomessa" (She wants to act tough, but I've subdued her) highlights a playful yet assertive interaction. It suggests that despite her attempts to be rebellious, the singer has managed to bring her under his influence, making it a memorable and somewhat provocative choice.
PELOTA is a summer club track built by the producer Drillionaire, with Tony Effe and Guè trading verses over it. The title means "ball" in Spanish, and it comes from the hook: the singer spots a woman in the street, honks his horn, compares her to a football and says he is not passing her to anyone. That one image carries the whole song.
What makes it interesting for a learner is the language mixing. The verses are Italian, but Spanish keeps breaking through: calle for street, barrio for neighbourhood, dinero for money, dale chica and habla espanol thrown in as pick-up lines. Even a little French shows up in mon amour. It is the sound of an Italian summer hit reaching for a Latin feel, and you can hear both languages sitting side by side in almost every line.
The rest is standard boasting. There is money that makes his head spin, shopping in a boutique after the shutter has closed, designer labels handed out, and a claimed reputation that travels ahead of him from Rome to Latin America. Both rappers frame themselves as the only ones who matter in Italian rap right now.
A word of warning: the lyrics are explicit throughout, with references to drugs, sex and crude descriptions of women. The Italian and Spanish vocabulary is genuinely useful, but the subject matter is adults-only.