Dislocation

Dear Asteristico, it is with great pleasure that I comment on an Artist of such importance... Of course, the results of such extensive sowing have been reaped by someone else, notably Erbio Ancocco above all, but many others would come to mind...
Personally, I possess some LPs from the arboppe era of the old genius, particularly Byrd's Word, Jazz Lab, and that wonder known as Two Trumpets...
That said, I must add that I have never loved his period from the late '60s onward, although I acknowledge its indisputable merits and anticipations.
So, I want to thank you, moved, for the beautiful dedication a little further up, promising to soon return such an honor.

Old Pedro, all heart and guts.

Well done.
For some reason, the causes of which I have never explored, when I choose a Trane record to put on, I willingly dive into those from his 'soprano' period, perhaps because his classic works before '60 have always provoked in me one of those forms of unease that prevents me from listening while doing something else. This happens to me in jazz only with him, Miles, and the Weather Report 'Jaco-Age'...
There's no need to dwell on the greatness of this work; only Davis and a couple of three little things we expose, joyous and reverent, before the shelves of the soul so that those we allow to see it can admire and listen, astonished and confused by such greatness and complexity.

Of much greater substance...

Maximum respect for the grandfather and for the other hundred thousand sent to Russia solely because of the big guy's desire to always stand by the Bohemian painter, who, by the way, was reluctant to accept the cumbersome ally who clearly only intended to put his hat on an invasion that, at that moment, was still victorious.
I have read the accounts, not only the novels, of the veterans of the Anabasis of Russia, and it is clear that the character Bedeschi, first a monarchist and then a convinced republican, executioner of partisans and then fleeing after abandoning his leftover prisoners when the partisans from Vicenza were slaughtering them one by one, wrote this text always thinking about the lost honor, the "amordiddiobuono" and the reconquest of the dignity of Italian neofascism, only to later command republican units rounding up people at the complete service of the Germans, the same ones who had so often abandoned his Alpini to their fate in Russia, in situations where they could have helped them; hundreds of instances can be counted...
Over the years, even having reread this work several times, I have developed a sense of discomfort in front of such a character, anxious in his attempts to make us forget his compromised past due to his adherence to the RSI. If anyone thinks I’m exaggerating, they should read "Il peso dello zaino" and "La mia erba è sul Don," filled with Catholic and monarcho-fascist rhetoric, written only to regain a pseudovirginity in times when being called 'fascist' in the streets was still a source of shame before the nation.
The writings of Rigoni Stern on the Retreat have a much greater depth, with more moral rigor and more courage to admit one’s own mistakes, as well as denouncing the hateful misdeeds committed by those who sent a generation of young people to lose a war that was clearly impossible to win across Russia, the Balkans, and Africa.

Musical education, twisted beyond measure, thank you. I had this, which I think was a double EP, recorded on a C90, always seemed to me, worn out from countless listens during my military service, and on the other side there were Bow Wow Wow, "See Jungle!", to be precise, at half volume, under the Canadian tents during NATO exercises in Belgium, spring 1983, 35 days of rain, maneuvers, close defense artillery, live fire and stuff like that, but interspersed with splendid alcohol-fueled evenings with Americans and Germans. The soundtrack consisted of Berlin-era Bowie, Metro, Ultravox, and also this strange little cassette that I had been carrying around for months, which, right over the Ardennes, disappeared forever from my sight and my belongings, perhaps pocketed by good Hermann, rifleman from West Germany, a heavy drinker and great connoisseur of New Wave, as well as a proficient thief and a big fan of Gaznevada, god only knows how.
You see, Lulù, I preceded you with the bossa and you with the wave; I had been wanting to write about it for a long time, and it’s fine like this, since you wrote about it.
One to one, damned bastard.

The little stars.

I’ve seen some of it, clearly as we approach the end of the cycle everything weakens, but in the first three there were good ideas and nice touches. Nothing extraordinary, and aside from some pretentious snobbery and the usual criticisms, I didn’t dislike the series. But my tendency to be easygoing is well-known, and being a Genoa fan means I’m more accustomed to suffering than any of you, just a good meal and on we go.

Thank you, my religion forbids me to do so.

The Lelièvre insole, although in use for decades, remains one of the most prescribed models by pediatric orthopedists and physiatrists. It is indicated for subjects over two years old (a period before which prescribing foot supports is deemed inappropriate to avoid compromising the essential function of the fat pad under the child’s developing foot after their first steps) who are affected by calcaneal valgus of any degree, and when, even in the presence of grade 1 flat valgus, one wishes to correct only the calcaneal pathology without affecting the entire longitudinal arch.
It consists of a base insole on which a supinator wedge for the calcaneus and a pronator wedge for the fifth metatarsal are installed, the latter generally being two-thirds shorter than the former.
Its effectiveness is now well-established and evidenced by at least three generations of Europeans and North Americans who have extensively used it and found benefit, even as a precursor to the prescription, at older ages, of a more comprehensive foot support that includes the creation of an ad hoc support for the longitudinal arch, aimed at correcting what is properly referred to as longitudinal flatfoot.