panapp

Three dates in Italy and I couldn't go to any of them: a tremendous sadness, given that I've been eagerly waiting to see them for six years, since I discovered them, that is from "Talkie Walkie" (of course, I later caught up on their past, but having started late, I now appreciate both current and earlier works). I'm happy for you, I imagine it was a magnificent concert. @Appestato mantrico: what does "limone duro" mean? I've never heard that saying.

It seems to me like a bullshit that can work only and exclusively for children, and even then not really, because if the child starts building their vocabulary on Italian words and doesn't separate the two vocabularies, I wonder if they'll ever be able to speak decently.

I only know "L'ombre et la lumière," but not from RMC (I listen to Radio Capital, but Monte Carlo sometimes steals the frequency, damn it) but because it was included in a compilation called "Sushi Bar," which had two volumes released (I'm talking about the early 2000s). Basically, I 100% agree with the review because the girl is talented, but she fits well only in her context.

I'm listening just now to the album: it's exactly the sequel to the first, same Caribbean colors, same alt guitar, same college rock voice, same quirky electronic elements, same influences from a bit of everywhere. But the fact that the album is so similar to the first is not a bad thing, since the first was really enjoyable: there's not much evolution, but a substantial confirmation of what was already known. That said, the album does have the flaw of being vaguely ambient, the songs don't stand out much from each other, and let's say it holds more value as a general listening experience than as a collection of tracks that could survive on their own: I've listened to the first album dozens of times, and after two years I still struggle to distinguish the songs, so this is an inherited flaw as well. Anyway, it's always better to have a record that's uniformly good than one that's all inconsistently bad. For the 4 stars though, I'm waiting for the killer tune that I still haven't heard.

Great review, masterpiece film. @Mike76: check out "The Isle"! ;)

"This is because Andrea understands Eastern philosophies and esoteric/spiritual themes, making him the 'perfect disciple' of the Battiato-thought."... who is Andrea?

@ilfreddo: that movie is brilliant. That one, not this.

@josi_: I agree with you, but the audio is better, much better.

@josi_: translation and adaptation must be present, for films as well as for books and any other foreign works or those in another language. The issue is simple: I want to enjoy cultural products from all over the world, but to do so I must either know all the languages or convert them all into a single code that is familiar to us (in this case, Italian). In the case of films, the voice of the original actor is a fundamental part of the performance, which is why, fortunately, in Italy there are high-level voice actors who often not only reach the quality of the original but even add value to it (for example, if the original is poor); subtitles are not the same as audio. In the case of title adaptation, it depends on whether it's necessary to convey the meaning of the title, or the sound of the words in the title, or if there is rhyme or other characteristics. In any case, I personally find the thought of a well-known Japanese comic author, Rumiko Takahashi, illuminatingly simple and logical: she claims that her works are written in Japanese because they are for a Japanese audience that fully understands what they are reading; when exporting a work abroad, it is necessary to translate and adapt it in order for a foreigner to fully understand what they are reading as well, so everything that was originally in Japanese must be translated into the new language, what was intentionally in English or other languages should remain intact, and any data or cultural references should be clearly explained. I find her reasoning acceptable.

The review struck me as a particularly clear analysis of the situation, as the reviewer was aware of their extremely high expectations. I haven't seen the film, but I fully agree with the expression "qualcuno direbbe che son tutti buoni a fare film con i soldi... io non ne sarei tanto sicuro! Guardate che cagate che fa Roland Emmerich!". In conclusion, I will watch it on rental, aware that it will be a grandiose, well-packaged American production by a skilled director who knows his craft perfectly: not the artist, but the entertainer.