supersoul

I can understand the bewilderment of the reviewer used to the "traditional" Cohen, but this is a great album; it’s not about someone who hangs up the guitar and buys a synthesizer, but rather someone who sings about the present, the AIDS in "Everybody Knows," the ambition in "First We Take Manhattan." He sings about the current times, and we are in '88, not in the '68 of the acoustic guitar of 'Songs of Leonard Cohen.'

Here you go, out comes all the moderate enbar77 who uses swear words like stronzo, saccente del cazzo, mentecatto just when he deemed the rude alessioiride. This means being made of fluff, you're a bluff, it seems my comment no. 8 didn't contain any swear words and yet it was enough to unleash the TRUE nature of polite enbar. I believe I have every right to consider, never thought it was an "official statement," the division of the three schools of thought (ahahahah) of Neapolitan song, a solemn load of crap. But then I forget you're the one who reviews the best albums by the Doors, Janis Joplin, and King Crimson rated 4 (not even in Abyssinia... Totò would say) while you give a masterpiece rating of 5 to the little poppet of Supertramp. And if we don't mock a fool like this, what should we do on this site, just chat?

I don't think alerssioiride needs defenders because he can handle it perfectly well on his own, and I don’t defend him as a Neapolitan; in fact, when I joined this site, I immediately found him annoying and we didn't have exactly friendly exchanges. He's someone who bothers people like few others, someone who instinctively throws himself against those he dislikes but can reconsider if he recognizes that he misjudged a person (but are we people here?). In the end, I would say he is a lively and intelligent person while enbar 77 reeks of mustiness; he believes (and mr. saputello thinks so too, another one full of mold) that stopping at the first paragraph of his review is an act of arrogance and an offense, while it only takes reading that very first paragraph to get an idea of what arrogance means (without a basis) from someone who gives explanations to the unfortunate (if they ever ask him) on how to properly distinguish Neapolitan song, but give me a break! That alessioiride was gustavolamazza should have been obvious to someone with a bit of intelligence and perhaps a Neapolitan background to understand (see comment 28 on the review of the Deviants from January 2008 by yours truly, where I responded to his provocations referring to the photo on the personal page "malgioglio, you would look better with the RAINBOW HAIR rather than the white one"... In conclusion: personally, Pino Daniele annoys me and is not part of my listening habits, I read enbar's review and I didn’t like it (can I say that freely or do I have to justify myself?), I didn’t attack anyone; the editors qualified themselves by publishing the review that praised Lennon’s assassin. Alessioiride is partly right when he says this is a site of idiots, although I would make some distinctions because I have met (and respect quite a few) users who really seem to be capable people, beyond the frustration that we all, unfortunately (or luckily), go through at times.

If you get offended because I said I didn't continue reading the review, you're being a bit sensitive enbar. I believe I have every right to feel that way, or not? Or was it rude of me not to read it (let it be clear for pure self-defense)?

I stopped at the division of the three schools of thought of Neapolitan song; I didn't dare go beyond.

Guys... this Alan Parker is none other than the guitarist on the legendary album "Histoire de Melody Nelson" by Serge Gainsbourg...

There's also a piece by the Germs in the film, even though they recorded six for the soundtrack.

I finally saw the film, by the way, in a summer outdoor review in San Sebastiano al Vesuvio, where just a few kilometers behind the tarp the municipality has improvised a dump that will later be filled with dirt and during the day attracts thousands of seagulls. Seagulls on Vesuvius! That said, I would say it's a documentary that impresses, or should impress, not so much the Neapolitans but those who don’t live in Naples. Here, since I was born, which is no small thing, there has always been the Camorra, waste, and cholera, greedy politicians, etc., etc. But as Alessioiride says, it has always been a vibrant city where you feel alive. But now it's dying because it's conforming to the national trend, where screwing over others is the imperative that sets you apart and gives you advantages in this society where screwing others is considered an asset. Back in the days of cholera, the Osanna (or rather Città Frontale) sang El Tor, the vibrio, but we were all driven by the spirit of being communist and angry and we fought for something; it was a city of unique musical, theatrical, and literary movements. Today we, too, are standardized, zigzagging between the piles of garbage that block the roadway to avoid being late for work instead of joining the housewives who occupy the street where their children used to play. And in which northern city do children still play in the middle of the street? I commented in another review where they wanted to understand Naples that I spent a couple of years working on the building restoration of the Salicelle district in Afragola (where Lino Vairetti of Osanna still stubbornly does good things), and among those people who live on a few pennies in their own wild world, I was the monster (the normal one...) and not them. The monster is Bertolaso pretending that the dump is in compliance, Berlusconi pretending to pick up garbage off the ground with his little finger and then throwing it in peripheral streets where the piles still exist. The monster is the northern industrialist who collaborates with the new Camorra members who dispose of toxic waste in the lands where their children will grow up. The monsters are those Camorra members who need to make loads of money to live barricaded in luxurious homes their entire lives waiting for their families to be killed. The monsters are the institutions that pretend to want to fix everything by sending in the military who then watch the picturesque illegal stalls because they know that Naples is not part of the Italy founded on work and therefore must allow people to "get by." Buffoons.

No darkahem, you on the other hand, with post 8 expressed your opinion about those who give a 1, saying that they don't use their brains. If you instead tried to use yours, it seems that no one has called you a toilet for giving a 5 to this review. I have tried once again to explain why I would have kicked katarris in the ass. Anyone who loves music—punk, rock, jazz, prog, country, etc. etc.—IN MY OPINION should feel offended by that writing that praises the murderer of the "criminal" Lennon. If you don't feel offended, that's your problem. I feel offended, and as long as the editors don't delete it or katarris doesn't ask to withdraw it, I will continue to not post reviews. Here's the man to whom, according to katarris, you should light a candle for having liberated humanity from a criminal, flaky socialist who, as psicotrippa says, was an out-of-date hippy, artistically void and ideologically ridiculous.