supersoul

Miss Maryg, competitiveness is not part of my character; my model is the great Lebowski, just imagine if I were to challenge you... I have no hesitation in believing that a girl born in 1988 could know more than me and teach me many beautiful things, but if you are the one who stated in the review of Black Flag that Henry Rollins sings like JL Pierce and that in 1984 punk was still in its infancy, I don’t think you’re the right one to be my teacher. However, if you write a nice review of the Throwing Muses, I promise to give you 5 stars even if you mistakenly click the genre as kraut rock and call Donnelly by the name Mafalda instead of Tanya. If this is not the case, I swear on GG Allin's grave that I will commit suicide by exploding my balls from listening to the entire discography of Giardini di Mirò and Sigur Ros through headphones. Regards, from supersoul.

Just muffin!! But I would add an "absolutely" to the unmatchable.

Blackdog, I have the impression that Poletti likes you, and do you know why? Pay attention, when he doesn't like someone and gives a good review, he purposely doesn't give a rating, but he gave you one.

I understand your resentment, apple, but I think many rated you a 1 not because they didn't like the film, but because you rated this piece of crap a 5 while talking about inspiration to feminism when real feminists have judged it a piece of crap too. And do you know why? (besides the purely technical issues) Because the women in this film do nothing but mimic the same behaviors of patriarchal men, proving to be no better than them and falling into the same eternal mistake of trying to recover the lost gap by merely emulating their worst behaviors. That’s why, you little fool.

....", but who has ever said such a thing?" Poletti, read your comment 14 carefully and pretend to be a normal person: what interpretation do you give it?

I've already expressed my thoughts on length before; it depends on whether you're writing to be read or to say everything you have inside. In the first case, the review is too long, in the second, it's too short.

And so, according to Hitchcock and Poletti, every time we review any film, even those by the Vanzina brothers, we must compare it to "Rear Window," which is the ultimate metaphor for cinema...

In my opinion, this film has little in common with "Rear Window" except for the theme of voyeurism; I would liken it more to "Psycho" by the same Hitchcock, which, by the way, is from the same year, I believe. The difference being that for Powell, who had always been an elegant and refined director, the film cost him his career, while for Hitch it brought success, as he was expected to deliver these morbid curiosities.

Azzo reacts a bit too harshly, but he’s not entirely wrong. This isn’t about reviewing the latest album by Radiohead or System of a Down, but rather about engaging with monumental masterpieces from 40 (that’s right, 40) years ago, and it requires insight more than mere enthusiasm; otherwise, one risks pulling out the same old clichés about an album that’s been reviewed in the musical universe at least a few million times and especially overplayed during the natural evolution that the Aereoplani underwent, and not just a few days ago or after watching Terry Gilliam’s film. It’s clear that a young person's personal interpretation is always nice to read, and it's a pleasure to hear that that sonic fire is not forgotten, but perhaps one needs vital information such as the fact that Marty Balin was ousted from this album by the Kantner/Slick duo, that Slick’s literary reference to Joyce was a lysergic continuation of Lewis Carroll’s "White rabbit", or that the vinyl was mono and the 1966 CD was mixed in stereo, etc. In short, having that mastery of the subject is fundamental for a decent review and enhances the experience for both old and new listeners of the band. Otherwise, it’s automatic that the usual complaints bring down blows like Azzo’s comment. Anyway, for all Jefferson Airplane fans, listen to them live at the concerts of the era available for streaming at Concert Vault - Live Concert Recordings Streamed Online

Ah, was her name Karen Bach? But perhaps in Salieri's film she had a different last name. I'm really sorry that she committed suicide.