MorenoB

It's not my style to bring up assholes and mothers ;-) Actually, I missed your reference to MS, sorry about that. Anyway, let's wrap it up here; it's better to talk about music and not critics ;-)
Nice to see Giuseppe Bertolucci making a comeback!

arrived earlier to know something I mean...

Ah, regarding the Stones, the Scaruffian comparison must have been made in those years (and still now, in terms of popularity, they are second only to the "deceased" Beatles). I repeat, I would have liked to hear Piero (whom I respect, if for nothing else, for his dedication) with a reversed public attitude, but these are discussions with the benefit of hindsight. With the internet, more or less legal downloads, and other trivialities, it doesn't make much sense now to talk about who arrived first or not, don't you think?

But I didn't start talking about Scaruffi, to tell the truth... ;-)

I've read everything already, don't worry, the Beatles/Kraftwerk comparison was a deliberate exaggeration, it seemed clear to me but I want to specify it. By the way, I remember that in Italy there is a certain Max Stefani who, on a certain "Mucchio Selvaggio," was talking about the same proposals as Scaruffi long before, and I assure you it wasn't a magazine for "a few," and it's not advertising because quite often I disagreed with him too. And that's just one name, there were others, so please let's avoid terms like "revolution" or anything like that... no offense intended.

So I misunderstood, sorry ;-).

If it were really like that, then any rock record should start from 2 or from 1 because Beethoven and the Ninth existed, but fortunately, that's not the case. If you were a bit more consistent with yourself, and with the things you've been saying since you joined this site, Neu! you would also be a nice user.

In fact, I was talking about an attitude that is almost entirely pro-European, but if it suits you better, I can use the term pro-American; however, the final idea it conveys is still the same: if the success of the Beatles had been that of Kraftwerk, it would now be discrediting the Germans...

It's not true that Scaruffi talks about normally ignored groups: upon the release of "Trout Mask Replica" (the most appreciated album by the critic in question), it received enthusiastic support from contemporary critics. However, being a (very) difficult album, it had poor popular reception. The same goes for many other artists or albums; anyone with sufficient musical curiosity knows most of the groups cherished by Pierino (who, I remind you, takes them handily from American underground criticism), so there's nothing revolutionary here, neither in his ideas nor in his approach. However, it's obvious that the more, the better, because everything adds up, but it's certainly not necessary, though definitely useful.

No Yiderita, listen to me... it's not about a judgment on tastes; in life, there are really very few objective things, even fewer in art, but there is one: the difference between "Films of Manner" and "Films of Personality." It’s acceptable for you to give this film a 1 for purely subjective reasons, but if you set that parameter, it seems absurd to me that you then judge a purely "mannerist" work like Emmerich's as sufficient, which is ugly for various reasons, the first being that (as usually happens with that director) apart from the special effects, nothing else remains: a schoolbook script, a tired and overused story, etc. etc. Whereas in Soderbergh, even at his lowest peaks, because after all he remains a charming idiot (and I say that with affection), there is always a personal touch that goes beyond the purely technical side. That's all.