Purpulan

At that time I had a roommate who listened to a lot of these bands, and I remember "United States of Mind" quite well because it was played rather frequently on the stereo; perhaps that's why they didn't seem very varied to me, rather spartan… On the other hand, I found Apoptygma (or rather, I found them) more interesting in the structuring of their tracks (which also had a notable obsessiveness, but the overall micro-texture at the sound level seemed less linear and predictable to me; I'm referring to albums like "Welcome to Earth" and "Harmonizer").

Ahahahah, Bartle, "the Corinzia... what a biting gaze"!!! But they are nice guys, come on! Even though I haven’t followed them since "Ketchup Suicide," they don’t seem like the kind of people to get a big head and act all pretentious!

A more didactic title cannot exist, "poor Christ." If you understand English, translate it and what is represented will appear quite clear to you ; )

Well, the reference to Debord is basically the one you mentioned, Supersoul (but starting from the particular, the intent was to arrive at the general expressive differentiation between the two, and you throw me a "guilty" certificate that is much more Debordian, in effect ;). As for the linguistic factor, for some, given its "atavistic" connotation, one might say that Neapolitan was chosen also as the "training" language of Boccaccio (who in Naples was supposed to become an expert in "mercatura," as most know, but who more than anything else amused himself at court). Negligible is his "demiurgic" presence as Master Giotto (not just some ordinary painter), aimed at establishing how everything is "wondrously" transposed into "Figurative Art" (with the added attempt of a refoundation of the general perspective, but Giotto did not arrive at modern perspective ;). Let's see now if the debate ignites...

@ Idle: well, I had already mentioned the Bloch/Borg bipolarism in a comment on "The Place of Strawberries" (how self-referential am I ;)(to be pedantic, it should actually be said that this film is from 1956).

I know very well that the conversation is long (but less than what is often claimed in "certain circles"), and precisely for this reason, you shouldn’t bring Zeffirelli into the picture as a counterpoint (it would make more sense to mention Visconti among the "aesthetes" of Italy, but it would still be out of place). The reference to Debord, however, I didn’t throw in there randomly.

Go ahead! Ignite the controversy! And I agree with Paolo! I've endured it in every possible way during my seven years in Bologna, and in the end... I can only acknowledge a certain intellectual honesty in him, but it’s not like he has all this expressive virtuosity and above all... directorial skill. In short, there isn't a single work of his that is, for me, a true "pleasure for the eyes" (in a technical sense), only "Teorema" and "Medea" are salvageable (the first for the decency of the shots and the strong psychoanalytic tendency, the second for a more than good handling of the symbolic weight). Anyway, I prefer to sit through a "derivative" Debordian retrospective than a Pasolinian one (at least you know who your enemy is... everything and everyone!!! ;).

Ah, and the real title of "Mexico 86" is "Kick & Run" (downloaded from "Super-Arcade");).

Astley gives a mustache to the trashiness of the P.P.P.!!!

I have the impression that the blend in question has a completely different taste compared to what is offered by the Down (and I can only stand Lynyrd Skynyrd covered at a very shady local festival, after downing three liters of cheap beer... as long as I don't vomit it!!... ; )