Il_Paolo

Poletti, so you are Woodcock? You definitely have that inquisitorial air about you. I—against judges like you—am on the side of the veline and Paola Saluzzi, and also on the side of grandpa Giulio. They are victims of the justice-seeking mentality and the clichés of people like you. And if a moderate leftist like me, who appreciates the bipartisan nature of the current government, says this, you can trust it. ST, Il_Paolo

Imagine Hardrock92, I simply don't want them to make Andreotti a scapegoat. Your parents and grandparents probably voted DC, and if they voted PCI, they were voting for a reflection of Andreotti (that is, a party that, more or less anchored to the USSR, legitimized the very presence of a democratic bloc without alternation). So, if you're angry with what I consider a bit like the grandfather of all Italians and a lovable old man with a quick wit, take it out a little on your own. ST, Il_Paolo

What do you want me to say, dear Count, that's how it is; it must be this summer that doesn't come, but I feel a bit of a struggle in my mission. I'm almost tempted to become an ordinary reviewer, maybe I'll take some refresher and conversion courses. We'll see.

You are always very good, and prolific, even though I don’t comment on all your pieces, I always follow you. I don’t know them, however, your attempt to show the "lato b" of the '90s is commendable; it’s a form of derecensorial titanism as well!

Thank you, Lewis, I love him, especially for Stormcock, although all the albums from the late '60s to the early '70s are excellent. A haunting, almost progressive folk that underpins his voice, now dramatic, now agitated, now relaxed but always expressive. In his own way, a consistent artist, and the fact that Zeppelin and Floyd paid tribute to him directly or indirectly by having him sing one of the finest pieces of their career says a lot about Roy’s value. I recommend him to the loyal readers of my reviews, if they want to take a break from Wilma Goich or Jimmy Fontana.

More than a review, it’s an indictment of showbiz: it all stems from the lack of musical education in families and middle schools. Generations of listeners/buyers are born who don’t seek original music, and serious artistic expression, but rather pretty faces with little artistic talent, moreover not original (Morandi was a pretty face in the '60s, but at least he marked a discontinuity compared to Joe Sentieri or Tony Dallara). And let it be clear that this cannot even be classified as "minor" music, as I understand it. You give me the opportunity for a little anecdote: last week I went to a concert of the Zu and found as the supporting act a very talented and humble trio from Genoa, the Blown Paper Bags: we were about fifteen people applauding them. After their performance, I found the drummer and the keyboardist and asked them for the cd they had indeed recorded some time ago. I bought it for €5 and I assure you it's worth it, unlike the friends of De Filippi (as much as I adore Pasqualino). It’s a matter of market, okay, but I believe art and market are not compatible. SV, Il_Paolo

Nuti has turned to alcohol more than to drugs. I remember the film for the publicity it received, and nothing else (Benvenuti, whom I don't particularly love, was clever to exploit Eva, who was Boncompagni's muse at the time: if he had used a real girl for the trans role, the film would have lost its media impact). Your passion for Eva Robin's offers me a sinister (I'm left-handed) opportunity for a nice anecdote: years ago, my childhood friend Andrea praises the beauties of the new host of the well-known show "Colpo grosso" (in place of Smaila), telling me how beautiful she is here and there. I immediately catch on and ask him if, besides his thoughts about the host, he has also engaged in impure acts imagining her in unwholesome poses, and proudly he says yes. Then I reveal to him that Maurizia Paradiso is, in reality, Maurizio. He turns pale. I laugh (there wasn't much to laugh about). The moral of the story: the habit doesn't make the monk. As for the fact that gay pride events don't contribute to the cause of homos (not all gay, in fact), I agree with you: it's like if the banner of hetero pride were Rocco Siffredi, or Flavio Briatore, or Beppe Convertini. Come on.

To me, dear Poletti, Carlo Buccirosso was also enjoyable here, although I find him more suited to "Un ciclone in famiglia." Regarding the film, I believe it draws inspiration from American models that you only mention because they too were inspired by certain Italian cinema (in the description of the Andreotti current, we are in the territory of Leone). As you well know, I don't particularly like the underlying message of the film: Andreotti may have been a Machiavellian man of power, but shifting the blame for Italy's ruin onto him risks celebrating a rite of self-exoneration that I find quite unpleasant. Let's say that the blame should be equitably divided in proportion with his voters and clients (more than you think). Of course, assuming that what is said about him is true, to me - I might be an incorrigible naive - it seems impossible that in a civilized and democratic country like ours, such a person was in power, come on. It would mean that we are truly a country fit for operetta, and I - as an average Italian - refuse to think that. ST, Il_Paolo