rikiii

The comment above makes me think about the intellectual capabilities of many DeBaser users (and I'm certainly not referring to Anatas)... If one has to resort to laying their (less than pleasant) affairs out for everyone to see just to silence some idiot, then we are in a bad situation.

Anatas's comment above makes me reflect on the intellectual abilities of many DeBaser users (and I'm certainly not referring to Anatas)... If we have to resort to laying our (less than pleasant) affairs bare in front of everyone to silence some idiot, then we're in bad shape.

I remember that at a PFM concert in Correggio (it was the reunion tour, the one for "Ulisse") I ended up sitting next to three shady characters, and while chatting with them, I discovered that:
1) they weren't PFM fans, but King Crimson fans, to whom they pointed out that the Premiata was heavily inspired, especially in their early days (RIGHT! #1);
2) one of them was the owner of an "acclaimed" Pink Floyd fanzine, "Fluido Rosa" or something like that (RIGHT! #2);
3) ALL THREE had participated as extras in the immortal film "Jolly Blu," featuring the 883 and their beloved arcade, and appeared (one on the right, another just behind the singer) in the video for the song being reviewed here. (WRONG! #1)
It’s worth remembering that among the intents of the aforementioned film was the miserable attempt to resurrect the outdated genre of "musicarelli," launched by the then-nayone Gianni Morandi and very popular in the '60s, as well as to mythologize the arcade as the hub of life, love, and adventures of the youths described by Pezzali in his songs.
Unfortunately, the innocence and carefree spirit depicted in films from 40 years ago would be hard to find in that film from the late '90s, but even sadder is to notice how the arcade, which 10 or 15 years ago was actually a place to hang out with friends and perhaps make some new ones, is now the undisputed realm of more or less clandestine immigrants, their illegal dealings, and their spineless customers.

Or Italian-Scottish...

Guys, what's the problem? Why complicate life with sterile musings? The group is scoto-italian (I hope that's not a swear word in some other language), they play American rockabilly (but with many influences) and they live and work mostly in Italy. They are fantastic, that's what matters, and Andy really plays anywhere; for example (on his own) with a friend of mine at his birthday party, which took place practically in the waiting room of the bus station in my town.

"mutually"

Well, well, now that we mutually hate each other, I can write with more serenity and tell you that yes, you are indeed improving, but there’s still work to be done.
It's clear that you are passionate about the subject matter; however, unfortunately, I suspect (sometimes I’m certain) that your proposals aren’t always the masterpieces you’d like us to believe, just like in this case.
As for the Cocorosie, I think they are part of that 80-90% of people making music nowadays who would be better off tilling the fields (as pointed out by Max Stefani in the June "Mucchio").

I won't vote for the piece because I haven't listened to it (...), but let me say that, sometimes, in front of certain artistic expressions defined by experts as high (or even very high) level, I don't feel ignorant at all but rather taken for a ride; I also find that the figure of the "artist" is someone who spends much more time finding an interpretation (if they don't just leave it directly to the audience) that is more or less plausible for their work than on the creation itself, and it's not always the case that this is a good thing.

If you think this movie sucks (which I used to watch with pleasure as a kid), then you've never seen "Kakkientruppen"...
Unfortunately, I've seen it. To give you an idea, it's like watching one of those Pierino movies where Alvaro Vitali was replaced by that blonde kid with a face like a butt.