carlo cimmino

Greetings and warm handshakes to everyone. Roby86, you're right. I saw the film on Friday (it was the "premiere," by the way) and I also noticed that there were really very few people. The same goes for - the masterpiece - "The Wrestler," which I saw a week before. I don't go to the cinema often, but it wouldn't surprise me to see theaters packed during the screening of any Vanzina film. Dear Sfascia, just the name of Costa-Gravas seems quite bold. Fantastic the press review and "ciddistic" discussion on the "winning" Marco Carta!

Did they change their look? Wow...

Anyway, I'm curious; I remember having a similar discussion quite a few years ago. It must have been at the beginning of the century, and in that edition of Sanremo, Brian Molko from Placebo smashed a guitar into an amplifier. Or something like that. Parasite? Sure. But at this point, why not define Patty Pravo as a parasite too, who thinks it’s a good idea to flaunt her gray and gaunt breasts to shock the audience? Anyway, at this rate, we’ll never finish. Bye!

The "invasion" of Afterhours at Sanremo didn't really surprise me, given that other rock bands, or those that are presumed to be rock, like Subsonica in the past, have also thought it wise to make a stop over there. They do it for fame, for money? No objections. These are individual choices. No one is "immaculate," captain. That is certain. But artistically, as a choice, it means nothing; it doesn't qualify you except in a negative sense. However, I don't think the Afterhours will pay any price for this choice: they have quite a few fans, and if her majesty television wants, thanks to Sanremo they will gain some new ones as well. Personally, I don't see it as a matter of life or death; I won’t change my opinion of Afterhours, and I’ll skip listening to the compilation, but only because I just can't stand compilations (and I really can't stand a good number of the bands involved). As for Brondi, it seems to me that we are perfectly in agreement. Fusillo (by the way, fantastic nickname!), I read the article you linked. The question is the same. Paraphrasing the captain, parasites or commensals? And to what extent can we draw a clear line that separates the two?

Wonderful review. I’m adding it to my favorites, Dante (and I promise myself, at this point, to read your others). Anyway, I don’t know this text. Back in my day, I remember being made to use an Oxford Wordpower Dictionary: a true English dictionary. In practice, it was of little use if you didn’t already have a grasp of English. And this partly explains my disastrous academic career. Fortunately, the Beatles came along... I’m not rating the book because I haven’t read it yet.

A fairly detailed review. "Dei Faust" is, among the four (Faust, so far, Faust Tapes, and Faust IV), the most "institutional" album and perhaps that's why, as the years go by, it shines the brightest on its own. It’s still a five. The current situation of Faust is quite complex regarding the lineup. There are, perhaps, two formations of Faust, born from a split that occurred in the nineties, but I recommend doing some research online about it. The lineup with Zappi and Jean Hervé Peron nevertheless includes, more or less steadily, Amaury Cambuzat from Ulan Bator.

Essential.

We are tied to the outdated mechanism of popular success = crappy music because, luckily, it's not just a matter of debating two chords, since music is also made up of lyrical, emotional, and indeed, ideological content, which can transcend what is being sung. Popularity can be achieved in many ways ("there's many ways," the Afterhours would say), but I find it quite hypocritical (this is my viewpoint, let it be clear that I don't intend to argue with you... or anyone else!) to do so with a song that has supposed noble content in an absolutely deplorable and in poor taste context like the national Sanremo. As for the "poor" Brondi, beyond my personal viewpoint (which I never supported), I say that it is not true that gaining popularity hasn't benefited him. When we talk about Brondi's reception, or any other artist, in the Debaser context, we are certainly not discussing how this is viewed in absolute terms. In just over a year, he has sold quite a few records, garnered covers, even written a book, and won some awards. Specifically, if we stick to the now infamous "Debaser context," while we cannot deny that Brondi had a good impact on his listeners initially, we also cannot underestimate the fact that later on they realized that he had very little to say, and having set aside the tarnished record, they pulled out a good old vintage album by Lou Reed from their shelves.

I liked this movie so much that I wish I could review it myself. As far as I'm concerned, the comparison to Rocky doesn't hold (but, mind you, maybe I missed a few episodes of the series), and the fact that the plot might be predictable matters little to me. It's not just a movie about wrestling, of course. The film tells a good story, a snapshot of America, everything "works," and Mickey Rourke's performance is truly extraordinary and engaging (so much so that five would be too few to "catalog" it). Raise your hand if, after watching it, you wouldn't want to be an "old piece of ground-up meat."

Ordinarily, I comment. A fundamental work by a fundamental band. I really like it - maybe even more? - also the subsequent "Miami". Anyway, I've hooked up a few times too. It's expensive.