Eneathedevil

Interesting and polite conversation, well done, well done. Of course, I must have missed something, but with all these posts, it's easy to get lost: what I can say is that I completely understand Caz's opinion, because I find myself in it, and I confirm that when there's an idiosyncrasy (that term was used, I believe), whether directed toward this or that faction, there's no saint that can hold: prejudice wins, becoming an active agent the moment you try to listen to a piece. So, as the good Ajeje says (but weren’t you supposed to disappear, old gheiazzo?), the CCCP are great, but frankly, I too have a block when it comes to seeing all this political display in the graphics and songs: the music and preparation can be magnificent, but I feel irritated by all that can turn a good album, in my case, into an annoying wearisomeness. Thus, every kind of attempt to convince me that they are less communist than others (I think Ajeje mentioned the AREA) doesn’t save the goat and the cabbage: you still go to concerts waving the Che flag, listen to many beautiful communist things, talk about the system, etc., etc., because generally, musical representations and, why not, cultural ones, are in the hands of ideologies like these, but one thing is to make pieces disguised as normal songs like those of De Gregori and Dalla (mentioned), another is to flaunt the words "CCCP," "compagno," etc., on the cover of CDs. And of course, that doesn’t take away from the fact that Ringo's review is excellent.

Yes, I got it, you made an objective observation to which you added a subjective note through the quotation marks. I've never heard the Contortions, but I like something from Summer, Bee Gees, and listen up, Boney M :) Anyway, here I'm proceeding piece by piece, for the disco I'm limiting my choice to something that can engage me, not entire works.

"The Jerk," pardon, with Steve Martin. It’s hilarious.

Uhm, sure, those from the little Italy of the '70s and '80s proceed with sketches here and there that are comedic, but don’t tell me that masterpieces like "Young Frankenstein" or "Lo Stracione" didn’t make you laugh... anyway, a distinction must be made: all these films by Pozzetto, centered around moderately structured plots, aimed to be comedies, not comedic films. Comic is Fantozzi, (which is, in some cases, a tragedy), since the construction is solely focused on the character and not on the plot, which is non-existent.

Good job, Bogus. Regarding the notation about the "degenerations" of pop-dance, I’d add that Blondie themselves would fall victim to this years later (how can we forget the recent revival of "No Exit"?), along with Patti Smith and the TH, as you mentioned. Moreover, some pop-dance isn’t even that bad.

Odra, here again? :)

But come on, I rate Strafiko 5 because he’s a humanist and talks about kalòs kagathòs and hybris! Anyway, the film is amusing at times, and I've never disliked Pozzetto. So, here Gloria Guida isn’t shown much, for various reasons, but I recommend, if you haven’t seen it already, “Il ragazzo di campagna,” where you can enjoy some moments featuring the Osterbuhr, the city whore so despised by Artemio's mother, the film’s protagonist. Of course, that movie is also famous for the well-known scene in the ambulance after the “lasagne in scatola TAC, tonno in scatola TAC, grissino per tagliare il tonno in scatola TAC…”...

Stunning! And I'll add the quote too! "So, now we're going to play the game of whores and fags: so whores to the right, fags to the left!" "I'm not a fag!" "Oh, no, we play the game of lies later!" Great Strafiko

Odra? What are you doing here? Didn't we say we were going to the desert? Look at what you're up to, now devotchka will run off from the site with her hair in disarray, at the very least dedicating us a sabbath :)

No, no, casacci, I never said that the album is commercial. I define "commercial" those who love TDSOTM, because it's a common belief that it's the most "accessible" album by PF, so those who disdain this aspect often condemn the followers of TDSOTM, considering them lovers of the commercial. I only borrowed a notation, which, among other things, I don’t fully agree with. "Have a Cigar" is one of the most SIGNIFICANT pieces, as I've said. It says everything about the band, the risk of having to make music, the difficulties of the musician's and storyteller's trade. After TDSOTM, everyone expected everything from PF: hits, massive tours, masterpieces that would surpass the masterpiece. With "Have a Cigar," Waters and company take a young Harper by the hand in the role of a curious fan, asking him to take a nice cigar, to relax, to believe in their musical project. "But who the hell is a Pink?" the kid asks, raising a doubt about the identity of a group that has perhaps stirred up a too hasty uproar... "And did we tell you what this game is called, boy? We call it: riding the anomalous wave!", or a phrase like that ("Riding the gravy train" is a typically English expression meaning to risk everything to the brink of failure, of unsuccessful outcomes); this is the logic that governs PF, at least in their original design, before Waters' emotional overflow: either/or, the risk of re-evaluating oneself with a work that is much less tangible and immediate than TDSOTM.