Il_Paolo

I love Fugazi a lot (who would have ever thought?), let’s say they are a late but relentless discovery for me. This album, but also End Hits and Repeater, above all. They may seem challenging at first listen because the guitar and rhythmic patterns are complex and not very appealing, and the voices, loud and violent, are not friendly at all for the average listener. My advice for approaching them at least from a musical perspective (you can translate the lyrics with ease) is to have them play in the background while doing something else – preferably in the car if you can manage it, that’s exactly what I do – gradually letting their unique expressiveness sink into your head. After three or four continuous, somewhat passive listens, you’ll have them inside you and you’ll be able to boast to your friends who listen to Muse or think Dream Theater is original, or who thought they were cool listening to Nirvana: “Damn, Fugazi is better!” Blackdog, you’re great, just as great as post no. 26 of Sartoscuro.

I prefer Vanzina's works from the '80s, where the sociological gaze and comic witticism – thanks to Calà, De Sica, Boldi und so weiter – created little masterpieces of playful craftsmanship. Then, in my opinion, there was a transitional period, evidenced by this film, during which they lost their edge. A true highlight was the series "Un ciclone in famiglia." The review isn't bad, but, excuse my presumptuousness, I claim a charming primogeniture on these items here on Debaser: to improve, you should treat them with more irony and detachment, albeit not without the right affection they deserve. Better a review like this than phony intellectual tirades about '90s cinema masterpieces made in Kazakhstan. In short, better Rimini than the marauders of Yemen.

Last glimmer of dignity before taking off the makeup. However, let’s be clear: after "Destroyer" ('76) they should have disbanded, leaving behind a truly monumental memory (but they would have, it’s true, remained poor, with fewer hookups compared to those made in the following thirty years).

Well, as a child I thought a bit like you, arguing with those in the family who praised and exalted him. Growing up, I realized that behind that comedy there was, together, the experience of the variety show and the revue of the early 1900s, the drama of poverty and the immediate post-war period, the strength to make a country laugh. It irritates me that many have reevaluated him precisely for the late work with PPP; he was undoubtedly a force of nature, with something unsettling and diabolical (in a good way).

And I will say that the Bellavista have not been – I generalize – great fathers either: either they made their children study yes, but then kept them at home to replicate the life of the rich, bored, and disengaged (one can read some things by La Capria), or in a moment of courage, after having them study and immediately after graduation, they took them aside and said, "Get away. Stay in the North, don’t come back," creating forced and sad emigrants and stripping their little homeland of any possible hope of redemption. Now it is obvious that I am generalizing a little, but not too much. Yours forcefully, Il_Paolo

And I add that it is precisely the Bellavista family that has betrayed Naples, basking in the easy life of the wealthy southerner (in the south, if you are doing well financially, you really live large) without taking any responsibility towards the less fortunate (in the south, if you are not doing well financially, you really live poorly). Light and shadow, Yours, Il_Paolo.

I’m posting the comment I wrote some time ago in response to a similar review by AlessioIRIDE: it applies to you as well. In my opinion, the limit of the book, and the film, is that they are comforting, basking Naples and the South in general in the pleasure – sketchiness – of being “heirs” of Greco-Roman thought, unlike the barbarians of the North. The problem is that that heritage has, over the centuries, been the privilege of the upper bourgeoisie or the lower, Spanish-influenced nobility [who have misused it], not of the popular classes, who were plundered for millennia and left in ignorance and at the mercy of the brutes and their progeny. To me, the tragic side of the South is better depicted in “Io speriamo che me la cavo” by Wertmüller, where we laugh and cry, grappling with the drama of children and their (failed) education. Repetitively Yours, Il_Paolo

How beautiful "Snake" is, by these guys. I listened to them a long time ago. Regular guests on "Domenica In" maybe not, the target audience requires less daring choices, like Dino, Rita Pavone, Maestro Mazza, or something similar. Perhaps, daring just a little (how I love: "just a little"!!) the Matia Bazar. A nice rating for the review for the chiasmus on the Madonnas.

Yes!