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darthvader: you’ve never listened to the rs. keeping up with the trends? what does that even mean? they were themselves, they made rock and didn’t know how to do anything else. and there isn’t a "sticky fingers" or an "exile on main street" in the entire career of the floyd post-barrett.

I would rate it as there. They were already being a pain in my opinion, and the Rolling Stones have nothing to do with it. And then, sure, Franci may have provoked, but he has a bit of a point; Meddle wasn’t exactly anything special.

@fiquata: I was indeed talking about "work ethic," and by stronzo I meant like you see Agnelli, a music industrialist. @franci: so you don’t know that now Capovilla has perfect teeth ;) @pixies: I also read a biography on Hendrix that would make the gospels pale.

Anyway, I don't understand why Alessio always brings it back to ethics. If Capovilla were the worst asshole, the judgment on his music should remain the same. The music is what it is; it's either valid or not. Of course, one could say that his music is his creation, closely related to his persona, which is a certain way because Capovilla is a certain way. But would your (your all's) judgment be the same if it were produced by a group coming out of a talent show? I'm told that the artistic product is independent of the creator, so what do I care about his orthodoxy?

To be honest, the ODMs of the Theater of Horrors were much more derivative and "old." I've heard the first ones, and they don't tell me much; I appreciate the second ones for that "Italianization." (which includes all the discussions made by Franci and Alessio, discussions that were already happening at the release of the album) There is no separation between the "conceptual facets" and the music, as everything is blended in a sort of crazy mayonnaise, making ODM seem like a simple "approach." It's not hc that provincializes, but the Italian that universalizes. By the way, Nostalgia is a reworking of which King Crimson track?

First of all, good review. I’ve seen the film in its entirety (both parts), and partly what you point out as lacking is completed in "guerriglia" (his desire to bring the revolution throughout Latin America: at the beginning of the film, he refuses the positions offered by Castro and practically starts all over again in Bolivia). The style is documentary-like, the character is impenetrable to the viewer, especially in the second part where he appears distant, leading up to a rather evocative finale. Soderbergh rejects sensationalism (Gaber would say that leftist films are boring), caught between handling fairly delicate material and wanting to give humanity and empirical depth to a figure that has become mythical. He aims to highlight its historicity, that, and of a revolution that became possible, as Marx stated, due to all those conditions that make it impossible for man to realize his humanity.

really ugly record.

I wasn't saying what I said referring to you, lux, given that your observations about the musical aspect of the Teatro degli Orrori don't seem to me to lack foundation :) However, in the same Italian spirit you refer to, I feel them closer to me than the "originals" they draw inspiration from. (inspiration certainly not concealed by Capovilla himself) I like their reinterpretation, as well as their bastard rock (and courageous, in my opinion) that attempts to blend very different musical attitudes, not just geographically. Mentioned on this page, they seem out of place, in my opinion.

Anyway, as a capovilla you gain fame, (on the deb, that is, which is worth as a microcosm anyway) here comes the people talking unconditionally bad about it. The association with these guys is kind of funny.

@michoos what: try "a sun that never sets", which is much less turbulent than trough silver. it is probably the peak of the group's latest period.