cappio al pollo

Now, I have to say that I haven't seen either film in several years, but I can tell you that I believe they are rather two different things that have in common only the strong treatment of the same theme. I find Trainspotting excellent, but more comedic, if we want to put it that way, while the other stays more true to the personal story of the protagonist, and as a result, I find this latter one more sincere. The only flaw of "Wir Kinder vom Bahnhof Zoo" is that, representing the reality of a young girl (even if she isn't living the kind of childhood a typical girl should), it may come off as more childish, but that's not the case. As for the addicts you know, I doubt (I hope) they are heroin addicts, and that's why you recognize them more in Welsh's writings. Let's be honest, in "Christiane F." the theme is addressed with a more truthful dramatic intensity.

forgive the grammatical mistakes, repetitions and similar issues anyway

But if you say there was no competition (and I think so too), you're contradicting yourself and in a way saying it was brilliant. However, in my opinion, the brilliance wasn't in his music, although I must admit that "Thriller" featured tracks that presented a well-defined style, precisely because they had no competition with anything else. Anyway, I’d like to point out to Giustiziere that I praised one of his comments while he was praising one of mine, but without intending to return the favor, it just happened!

I have to say that you tell me a lot, but then you come out with "m'ero"!!!

But come on, if we don't recognize a certain talent in "chart" pop à la Michele, who would truly deserve praise in this category? Madonna? I can't help but laugh.

Surely he wasn't a musical genius in and of itself, but you yourself emphasize "from an expressive point of view," well, then yes, because he used his ballets and charisma to also communicate his music, I suppose.

I am not one of those who, since Jackson's death, tries to mythologize him; just a little further up, you can see the three I gave to Dangerous while Michael Jackson was still alive and kicking. However, it seems only fair to avoid speaking indiscriminately. As I have already stated, it seems clear to me that Jackson's way of communicating was the ace up his sleeve to make certain aspects of the showman famous, as well as to push a genre that, as you rightly say, was not exactly niche, and at that time was not particularly in vogue. But then, should we talk about the Michael Jackson who was in the Jackson Five? Less than ten years old and he sang like the Power Rangers singing united in Megazord?

Regardless of the fact that the musical movement you're referring to is called avant-garde and not avant-gardism, I care about you, Larrok; in fact, I de-love you. But it's undeniable that Jackson could also sing and knew how to work with melodies. Well, you say that his talent can be attributed solely to dancing and showmanship skills, but where would you place a melody and the ability to sing if not in your "musically"?

It didn't seem right to me, in the sense that it's still a work under the name Ronettes, even though the production is pretty much essential for this work. Honestly, I wouldn't even have been able to add any relevant details about Spector. The compilation you're talking about, I know it, and although I find it okay and representative as you say, I don't really digest it, probably because in general I find compilations a bit lacking, or maybe because having grown up with Carey’s Christmas compilation (!), I later struggled to change my Christmas standards. According to Wilson, however, Spector's is the best Christmas compilation of all time.

Thanks to Sentence and the others who noticed that, beyond the joking driven by the desire to somehow fill a review with little to say, there’s a text that provides just enough information about yet another commercial gimmick at the expense of Buckley Jr.