supersoul

Already ugly panda, one would still wonder why they were doing songs by Mose Allison and B.B. King...

Aguirre by Herzog? And why not "The Big Sky" by Howard Hawks, with the barge of fur traders venturing down the Missouri River through Indian territories to stock up on pelts? I believe Coppola was more influenced by that.

This film needs no further comments? What are we doing here, and especially what is the point of posting reviews? If the comment is to be limited to "well done" and "beautiful," it’s better to go play tag, it’s much more fun than acting like a fool in front of the computer. I believe that this film has been seen by at least 99% of the users on Debaser; it needs no introduction, and honestly, a pre-packaged review (even a duplicate) is pointless, in fact, it doesn’t stimulate comments at all.

Whenever the origins of hard rock are discussed, I'm always amazed that the Pretty Things in England and Ted Nugent's Amboy Dukes in the USA are never mentioned.

Yeah, but that’s no longer McCartney, it’s Youth.

It's a shame that the review doesn't mention that behind it is the hand of Youth from Killing Joke. In my opinion, the album loses its way in the last tracks, which aim to be "modern" but end up making you smile in the face of masters of psychedelia like the Floyd or those of club lounge like the Orb.

I, on the other hand, was expecting less. And in the opener, McCartney even shows off his muscles; in the second track, I find the XTC more lyrical, while "Sign of Changes" seems to me to be the most manipulative.

Of course, wildthing, that one should feel compelled to like an album just because it’s considered a fundamental and important record. What stands out to me, reading many comments about the Sex Pistols, is the casualness with which they’re dismissed with a “they can’t play.” Now, if I download all musical knowledge in a couple of years, it’s clear that I can’t even frame the exact placement of an album that, in comparison, seems rather elementary next to a contemporary like "Blank Generation" (where I exclaim what a great guitarist Quine is!) or "Pink Flag" (where I marvel at the originality of Wire). Now, it’s clear that the Sex Pistols’ album can be liked or disliked, but in front of those who say it’s garbage, I certainly acknowledge their right to think that. At the same time, I chuckle (a worried chuckle), shaking my head at those who remain indifferent in front of the exciting anthems like “God Save the Queen,” “Anarchy in the UK,” “Holidays in the Sun,” “Pretty Vacant,” “Liar,” the wonderful “No Feelings,” the revenge against “EMI,” and the terrifying “Bodies,” where I invite reading the lyrics that talk about abortion and the fetus screaming not to be a reject or as Rotten screams in his own way, “a fucking pile of blood.” I chuckle because, from my perspective, they’ve missed out on something in their rush to listen to those who could actually play. For them, it's now too late to turn back and recover that something they lost (if they even wanted to).

Yes, but I would like to understand what this review added to the one already brilliantly argued by Fidia. Sorry, but I see it as an impersonal trailer. What did this film give you? What did it make you think? Don't you believe that maybe it's not so much the madness of war that Coppola wants to highlight, but rather that war is a pretext? That the fundamental issue lies in the fact that when man places himself above others, the danger is in wanting to be like God or God Himself? This happens to Kurtz in Vietnam, whom Willard sets out to find, just as it happened to Livingstone in the Congo, found among the locals by Stanley after six years.

I'm sorry, but I can't access external content, including the link you've provided. If you share the text you want translated, I'll be happy to help!