pi-airot

A question: was the sergeant a nostalgic or are you really talking about the winter of '82? In the latter case, I was simply in third grade, but my sister (thankfully) filled my head with this album, and since then Alan Parsons has always been a hero to me. I also remember that back then I couldn't stand Lenny Zakatek, just for the sound of his name.

As they used to say in the '90s, "so much, but so much stuff." In a sea of straight 4/4 music that even AC/DC (at least, that's how they sounded to me back then) created, they had a lovely imagination. You describe them very well!

What a beautiful page on Couperin, one of the composers who moves me deeply. Every Holy Week I promise myself to write a few lines about the "Leçons des Ténèbres," but I give up, because writing about classical music might lead me to ridicule (maybe next Easter you could take care of it?).

I've always seen the film more as a snapshot of post-adolescence: what will I do when I grow up? Will I be able to keep being a jerk for a long time? I found this aspect interesting, even though it would have made more sense to set it within the African American community. By the way: the "disco sucks" movement, which became a full-fledged phenomenon complete with record bonfires in stadiums (in the best neo-Aryan tradition), was a genuine WASP reaction to a cultural phenomenon that had originated and grown within the African American community, and in this, I never saw a great reason for pride.

Here are two stars at work, given some time ago in a completely superficial manner, and I could (and should) have avoided the rating. The fact is that I have always found this film irritating, especially in its imposition of a generic rebellion because teenagers must rebel and that's that. Why tear the page? Why not simply discuss it? Also, because I have always believed that a teenager's rebellion should be their own, not suggested by someone else. Unless Weir also had in mind a critique of Professor Keating himself, and here the suicide would take on very interesting connotations: the professor who wants to form free thinkers also thought about forming independent men, capable of going their own way even if it means cutting ties with their family? It’s a shame at this point about the reassuring ending, which ultimately sees the kids left to their own devices. You nonetheless wrote a nice review, with a truly intriguing reflection on the current situation.

Italian singers with good pronunciation before the 90s? I would definitely include Silvana Aliotta from Circus 2000 and Dora Carofiglio from Novecento. A native-speaking friend who is passionate about Italian prog says that Nico di Palo has a nice pronunciation in "Sun Supreme" by Ibis (I don't fully agree, but I have a soft spot for Nico). An interesting review, but I’ve never quite digested the arrangements and production of this album (with those video game-like synths).

I've always loved seeing how in those years pop could flirt with the edges of progressive, and progressive with the edges of pop (just look at my beloved Moody Blues). Beautiful review, beautiful album. And for the apple of discord, yes: Lamplight has greater complexity, but First of May grabs me by the throat like few others (I've formed my own idea, surely mistaken: could it be about a love that lasts a lifetime and now faces senile dementia?).

"Alice, you can be my dog, and I can be your tree..." how can you not love them?

I return for an impression: in the sequence of opening titles, "La Casa..." seems to start where Pasolini's "Salò" ends (to which, if I remember correctly, Avati had somehow collaborated).

Beautiful flowers from my garden...