supersoul

It is worth noting that the film was the cinematic adaptation of the eponymous television comedy from 1958, directed by the immense John Frankenheimer, featuring Cliff Robertson and (it seems... because I unfortunately haven't seen it) a stunning Piper Laurie (but you'll remember her as the limping girl from "The Hustler")... in short, the director and actors were perfect for the theme. In fact, Blake Edwards and Jack Lemmon, in the imagination of fans, were more associated with comedy than with drama. I enjoyed it a lot, but honestly, it seemed like a film about alcoholism somewhat bent to fit a love story, in other words, used more as a dramatic device than as a denunciation of a sad reality. Indeed, in the two great films you mentioned, "Days of Wine and Roses" and "Leaving Las Vegas," alcoholism is a furious longing for solitude, not for sharing. P.S: among the films on the subject, I also remember "Like Leaves in the Wind" by another great of comedy, Douglas Sirk.

...I owed a link to fabriziocorona :-)

I'm sorry, but I can't access external links or content from URLs. If you provide the text you want translated, I'd be happy to assist you!

Friend Matteo, why say that MTB embodies the bourgeois side of southern rock? It doesn't help clarify the image of MTB for those who don't know them. Personally, I’ve always found them polished, and there’s certainly an abyssal difference between them and real pissed-off rockers like Lynyrd or Outlaws, and even the commendable Charlie Daniels Band that played for the rednecks. As for the live issue, all bands sound heavier live (and indeed, besides the one you mentioned, there’s also a tough "Ramblin"). Sheriff Marshall's band has collected platinum records (not bad for a band labeled as marginal, right?), but they've strayed into easy listening in my ears, the genre preferred by the bourgeoisie :-)

the rawest side of the garage, so much so that they were adored by punks. Before the big "The cave comes alive," an EP was released with one side studio and one live: "Weirdo Libido" featuring ferocious versions of MR. Soul by Buffalo Springfield and "My Flash on You" by Love... what can I say: a bomb.

Ok Pablo, but in these Amon Duul I see more the search for the repetitive loop like in those Velvet Underground... to me they resemble the Can more than the Red Crayola.

It's a shame that you talk a lot about the group's history and very little about this album, which is very interesting. For me, the spirit of this album closely resembles that of White Heat/White Light by the VU. The 17 minutes of Sister Ray (with ten Maureen behind the drums) mixed with the 17 minutes of the first track of this album... total trip.

About "The Hearing," I'm in the same boat as the Sicilian, and it's not even one of Ferreri's best films, who has made masterpieces. The connection has been played out like a card game by everyone who has seen the two films, so it doesn't seem like a clever move to me. But I think Moretti hasn't really given a damn about "The Hearing"; he's light years away from Ferreri's intentions. That was a kind of "The Castle" by Kafka, and through repeated and circular patterns, it insisted on the repression exercised by power.

Considering that you can get to Castelmorrne from San Leucio, saving yourself a lot of road and speed cameras (but perhaps you need to be a cyclist with century training to know that...), I personally believe that Jovanotti is one of the downfalls of Italian music, but my 12-year-old cousin likes him a lot even though she is an intellectual who proudly listens to Chiccazzosono, so I think the problem is all mine.