Il_Paolo

Muffin, a well-known conceptual artist on shit, built a career out of it... even though he died young (implicit apotropaic gestures on this point). Why can’t a humble reviewer build a review, and an equally humble commentator a comment?!? Sincerely yours, Il_Paolo

It's not that Enrico Vanzina (the one who writes the films) is exactly naive or uneducated: these films are superficial and cobbled together, sometimes vulgar, but they also have a knack for representing, with nostalgic benevolence, stories that, for better or worse, concern everyone. Which doesn't mean rehabilitating trash, mind you.

Okay, I forgot about the grades.

Lord, perhaps the Peart you’re referring to is the one from "Caress of Steel," from "A Farewell to Kings," etc., but over the years he has managed to temper the narcissism inherent in certain drummers. Moreover, I forgot about Ian Paice - he is indeed the true ancestor of Portnoy, at least in terms of time (and he’s good, too).

In recent weeks, I have Debut in "heavy rotation," I always listen to it in the car. Byork is a late discovery for me, and a capital artist, second only to Kate Bush, though. Perhaps at 11 years old you were drawn to the cover of this album, just as I was, as a child, to those of Fausto Papetti. Such is life.

Kind, the speech is part of a broader reflection on the "rites of passage" typical of adolescence and schooling: thus, the trip to America is seen as a conclusive moment of one's carefree youth, before the onset of adulthood and the responsibilities that come with it. Beautiful - here - is the character of Calà - who, already in adulthood, tries in every way to dive back into adolescence with the artificial and contrived participation in the trip. A journey through space for Calà, but also through time, trying to recover lost feelings, perhaps forever. Bye!

The issue raised is interesting. I'm glad that a truth I thought was only mine is coming to light, namely Robert Plant's overly meowing voice (and the "Beibo Beibo" from Heavy Samba on Elio's latest album proves it). Without sparking debates that ultimately lead nowhere, it must be said that Plant was excellent at creating pathos in Zeppelin's songs, alongside Bonzo, warming up the greater intellectualism of Page and the ever-lauded JPJ. Sometimes it can be cloying, but to be honest with myself, it's not like other hard rock singers did much better: I love Gillan, but even he is somewhat monotone; not too much Coverdale, too hoarse; let's not even talk about Ozzy, although he is expressive; powerful but not versatile Daltrey, etc. To put it another way, in my opinion, the best voice of the seventies is Jon Anderson's (Yes), and for personal reasons, Geddy Lee (Rush). Anyway, to return to the matter at hand: no Plant, no Zeppelin. They were unique that way!

I mean there is a fundamental coldness in his drumming, where technique prevails over the interplay with the other members of the various bands he has played with. Bruford dresses the tracks with his touch, he has an essential role in the arrangement of the various pieces (by Yes and Crimson), but it almost seems like his drums are a separate entity. Not so Bonham & Co.

Calm Contemplation, your posts are an integral part of my mission, indeed, I can tell you that they embody it and give it even more meaning - or more meanings. With this, I would say to close the matter, unless I reopen it at my next appearance in these latitudes. Best regards.