bedroombadview

Mine was not a political consideration; I simply wanted to express sympathy for those who contest the adoption of second-hand tools (which I believe include various smocks, grades, single teachers…) to reform primary school. Forgive me, but I cannot perceive the usefulness of these measures, a legacy of Deamicis. Perhaps it is just a sign of the times: if it were merely an inability to face the future by retreating into the past, I would understand; instead, I fear it is a cultural inadequacy in addressing realities we must seriously confront, banning stopgap measures and cosmetic solutions. As for my political solidarity, it currently has no direction in the Italian landscape.

Exceptions is written with a z.
Apart from that, you declare yourself a lover "of our favorite music" and at the same time "one who hates pop punk." What do you think we listen to? Gigi?
Forgiven, the "spirit" is still the right one... (evidently you are referring to today's glossy punk).
The Buzzcocks also had their own label - New Hormones - and released the immense Ludus.
Dedicated to all the students who took to the streets: Another kind of music in a different school!

My pleasure, Macaco, thank you for the suggestion: one of my all-time favorite records. "Know how" by Greenfingers - sung by Goronwy, if I'm not mistaken... - is a classic example of a melody that gets under your skin and never lets go... sublime simplicity.

I own the CD and some of the mentioned works on vinyl. If this isn't love..... We are facing one of the most human approaches to industrial matter. Thus, the afterwork of the T.H. is a masterpiece: it is born from the English folk tradition, whistling on the assembly line in the name of a proud precarity and waiting for better times. Which never arrive. Now as then.

"Love Blows Love cries, a confession" what an album....there was the violinist in the lineup, I think his name was Coleman. Those who don’t know them should start from there or from the worthy sequel "Flowermouth". Unmissable. It seems they've lost some of their edge in the following works, coincidentally with the rise of Porcupine Tree in the empyrean of neo-psychedelia, which has probably distracted from the No-man project’s original pop inspiration. I find it hard to digest Wilson; Tim Bowness has created an incredibly beautiful double CD in collaboration with Samuel Smiles, "World of Bright Futures", and with the excellent "Flame" assisted by Richard Barbieri. Both are must-haves.

"When, however, the Smiths' proposals start to come too close to the patterns of the most clichéd pop..." - I add - the group gives birth to the masterpiece album "STRANGEWAYS, HERE WE COME." The state of grace in which Moz & Marr found themselves at the end of their partnership is also evidenced by their first solo and collaborative efforts: "VIVA HATE" for Moz (with great credit to Vini Reilly) and "MIND BOMB" by The The with Marr on guitar. Then they really got lost. Then. Not during the brief Smiths epic. "THE WORLD WON'T LISTEN" is worth any other compilation: less encyclopedic than some, more curious than others. The ultimate compilation, however, will remain the previous "HATFUL OF HOLLOW," an immeasurable archive of their early, unripe beginnings, of unusual sensitivity.

4 comments that testify to a country divided in two.

I would recommend clearly separating the production of the eighties from the earlier works. The more recent one is essentially a modular synth-esi aimed at scoring soundtracks, whether real or imaginative. I fear that its only value is historical and resides in the scent of that era it still manages to convey to curious and sensitive noses. More muscular than Vangelis but less effervescent than J.J.Jarre, the music of White Eagle might therefore appeal not only to nostalgics but also to those who weren't there and wish to reconstruct an imaginary of the many precious delights that dotted the eighties. The first production, on the other hand, has an intrinsic artistic value that I won't elaborate on further.

Taste like honey?...Wasn’t it Just like honey? Sorry, unforgivable mistake...(and it works in acoustic version too…)
Merrit is overwhelmed by a shapeshifting unease: he’s been a classic pop filia forever. His limit is perhaps redundancy, but as long as inspiration doesn’t abandon him…lucky us.

Given the deconstruction suffered even by videos (could it be otherwise...), here’s a brief summary of the mystical appearance:
"The Holy Grail of audiovisual documents is undoubtedly the video of John Cage's participation in Lascia o Raddoppia, which even YouTube is unable to showcase. In online forums, desperate connoisseurs have been chasing it for years. And somewhere the suspicion arises that it might be an urban legend, as many have blossomed around the figure of Mike Bongiorno. The story goes like this. In 1958, John Cage was in Europe to hold a course in experimental music in Darmstadt, Germany, and then he arrived in Milan where he stayed for four months, recording a piece entitled Fontana Mix at the RAI phonology studio. That same year, he participated in the quiz show Lascia o Raddoppia as a mushroom expert, and after six victorious evenings, he returned home with a haul of five million lire. During this participation, Cage also had the opportunity to perform several of his compositions, in front of a compliant Mike. (So imagine the scene, picture an eccentric composer sinking into the surreal geography of a television studio, envision Mike Bongiorno and John Cage discussing mushrooms among showgirls, neon lights, and roaring rivers of money handed out generously by the everyman of Italian pop culture.) The farewell moment is legendary:
M.B.: “Bravissimo, bravo bravo bravo bravo. Bravo bravissimo, bravo Cage. Well, Mr. Cage has undoubtedly shown us that he knows his mushrooms… so he wasn’t just a character who came to this stage to perform odd displays of very strange music, he is truly a prepared individual. I knew it because I remember he told us he lived in the woods near New York and that every day he went for walks and collected mushrooms.”
J.C.: “A thank you to... mushrooms, and to RAI and to all the people of Italy."
M.B.: “To all the people of Italy. Bravo Mr. Cage, goodbye and safe travels, are you going back to America or staying here?”
J.C.: “My music remains.”
M.B.: “Ah, you are leaving and your music stays here, but it would have been better the other way around: that your music left and you stayed here.”
I also add that other sources indicate Berio and Maderna (perhaps even Eco) as the infiltrators in RAI who passed Cage the answers to the questions Mike would have asked him during the broadcast, in order to prolong his stay in Italy as much as possible.