supersoul

will communicate to you much, much, much more than many awake and nonconformist young people of this nonsense to whom you gave 5, punisher... For example, a Jodorowsky, just to name one, can only clean his shoes (besides thanking him for the eternity of several, let's say, "inspirations"...).

@lavalin and indeed I was torn between the two, seen ages ago, thanks for the clarification, I did remember though that in Ciao pussycat Woody was the seducer who took the poles...

Poletti, may I offer you a friendly piece of advice? Before reviewing a film, it's better to watch it again or, perhaps in this case, at least see it once...

Well, I believe that McLaren had a much bigger impact than a Warhol (and less than a Sinclair, who was the essence of politics), McLaren was there to make money, not for artistic reasons. But the Pistols were far from puppets in McLaren's hands; they were ungovernable by anyone. Just see the footage of the interview on English TV with Bill Grundy, when the host says, winking at Siouxsie: "maybe we’ll see each other later," and Steve Jones responds with "old pervert," then "dirty bastard," then "vile scoundrel," and finally a refined "piece of fucking scum." And Malcolm McLaren, frightened by the possible arrival of the police, shoved them into a car and only stopped to let Rotten out at the first subway entrance... I can just imagine him in his two-tone sweater, without a penny to his name, kicking cans on the sidewalk... the next day he was on the verge of becoming famous with front-page headlines in the papers: OBSCENITY AND VIOLENCE ON TELEVISION...

@festwca: Flower Travellin' Band? Who, the Japanese? You have to listen!! Crazy stuff, Japanese people in 1970 traveling on acid rhythms between Black Sabbath and Led Zeppelin. There's a track on Satori that's incredible, you can really feel their oriental vibe. They remind me of Mars Volta.

...aritanga..here born to be wild there's none...it's on the third... and then you want to compare the Slayer cover that outshines the original, maybe if it was sung by the trained metal dog Blaze from Wolfsbane it would be even more magnificent.

Let's revitalize the discussion. Doctor J downplays the role of Malcom McLaren. Now, it’s true that punk would have exploded in England even without him, but to deny his fundamental importance in inoculating the germ and building the Pistols phenomenon would be a significant historical error. This isn’t about being fooled by his film "The Great Rock 'n' Roll Swindle" or believing Rotten, who has always minimized him out of "revenge," but rather about the evidence of the facts. He wasn’t just a mere manager as Doctor J claims; he owned the SEX boutique where the English punk phenomenon was born, frequented not only by the future Pistols but also by Siouxie, Adam Ant, Pirroni, and Whobble. When McLaren went on that trip to America, he left Steve Jones, Cook, and Matlock to practice in the shop under the guidance of Bernie Rodhes. When he returned, they had to choose the singer, and Westwood had indicated a certain Johnny. He mistook Johnny and auditioned Lydon instead, making him sing an Alice Cooper song with the shower hose instead of a microphone; as a singer, he was terrible, but as a performer, he was extraordinary, and McLaren took him immediately. And let's not forget that the "look" imposed by McLaren and Westwood was also a driving force for those guys—unique T-shirts featuring the Cambridge rapist mask or the two cowboys touching each other, or that of the breasts on the shirt worn by Steve Jones when they went on television to insult Bill Grundy. Without the genius and madness (along with a good dose of coincidences) of McLaren and Rotten, there would be no Pistols and no English punk as we understand it today.

A wonderful collaboration album by Eno is "Possible Music" with the "filtered" trumpet of John Hassell. A masterpiece of mind-bending hypnotic raga over a carpet of African and Eastern percussion. It's worth noting that I heard one track used as a background for a red-light scene in a film by the porn director Mario Salieri... I wonder if he paid the copyright fees.

Here’s the paolo who chews on his subject matter and reminds us of the small things from the past that made us feel good for a while because we were younger and more foolish, and now we’re embarrassed about it, but he’s good at not making us feel too guilty. Speaking of Woody Allen and his role as a seducer, I remember a scene in "Ciao Pussycat" where he twirls up to a girl dancing in the center of the room and she zaps him with a "pussa via, sgorbio!" and he twirls away nonchalantly... Anyway, I hope the Vanzina brothers don’t heed your call; that would be a sad and certainly embarrassing thing. These remakes twenty years later are all terrible (one for all: "I soliti ignoti vent'anni dopo"...shameful).

Guiltily, I have never seen it, always held back by the presence of Gere, whom I consider an absolute farce and a serious flaw for a director to choose him (or be pressured to cast him as an actor). Anyway, as Poletti says, every Kurosawa film, even the older ones, is magnificent and enjoyable for us Westerners. Films like Rashomon or The Seven Samurai (our Leone knows something about that) have been "plundered" by countless Western directors. For the grandiose ensemble pieces, my favorite is "Kagemusha, the Shadow of the Warrior"; for the more intimate ones, I would say "Stray Dog" from 1949, featuring the policeman (the usual great Toshiro Mifune) who gets his gun stolen and goes on a search in a war-degraded Tokyo. Even today, filmmakers draw inspiration from it (see, for example, the great "P.T.U." by Johnnie To from 2003).