frantz

What a cool album this is, bare, essential but beautiful; the sought-after Bennato from the late '70s and '80s still had more to come, but this album is truly interesting precisely because it is sparse in sounds. If I remember correctly, I should have the vinyl somewhere, so now I’m going to check if it’s the one "orizzonti" or the original...

A woman you don’t know whether to slap or let slap you, drives me crazy!
I watched Natural Born Killers in a trance and since that distant Venetian night in '95, I haven't been able to get it out of my head, until the other night at the May Day concert, what a pity! The only thing redeemable about her was the zip of the red jumpsuit, the rest was all very sad... for a disappointed lover.

I've had this album since it came out, and I've never been able to fully enjoy it; perhaps I've never given it the attention it seems to deserve, but let's say that, unlike other works by W.S., it has always "bored" me. I'll tell you more: this summer I saw (a wonderful experience) in concert together Wayne Shorter, Herbie Hancock, Brian Blade, and Dave Holland, and it seemed to me that Shorter was the least engaged and engaging. That said, I take nothing away from his artistic greatness, just to be clear.

And you two make me sick!

Degree in cultural heritage conservation and now you can hit hard!

I also know someone who was doing it on Tarantino, just so you know, and by the way, he’s a debaser fan! Anyway, when I was in university, we in Udine used to walk around wearing t-shirts that said ENGINEER, NO THANKS! and the other one: engineer, if you know him, you avoid him, and if you avoid him, he won't kill you!

Hal is right about the movie; we’ve thoroughly examined it on the cinema forum. I don't dislike it, but it’s certainly not a milestone! Nevertheless, the cheerful review contains a lot of inaccuracies. First of all, it’s a co-production with RAI Cinema and STREAM TV, so it doesn’t seem to be solely from his piggy bank. And the actors were picked off the street? Well, sure, Iaia Forte, Roberto Citran, Vittoria Puccini, Ricky Memphis, Celentano, Giorgio Tirabassi, and Alex Infascelli must have just happened to walk past the theater that morning. Anyway, it’s completely different from the real Paz, who, honestly, was different, and I didn’t like him as a person (not as a character). I used to read Frigidaire too, and in 1982-3, I can’t remember exactly, we organized a party in collaboration with the magazine at a venue in Senigallia. I was 15; I wonder how I would experience it today, maybe like I experienced the movie. Kosmo, the DVD can be found at the newsstand from ElleU editions.

Tell the truth, are you one of those who discussed their thesis on Kubrick at DAMS?

I am a lost man and I don't even know where the star of the return is and Vanessa Paradis has always made me feel like a bastard! I got this record when I was enjoying listening to Lenny... they were hooking up and I was "happily" listening to their records, completely indifferent to each other (but they were definitely having a better time, I have the impression).
The album isn't bad; she only lent her voice... to the album.
Speaking of prejudices: now all that's missing is a review of Carla Bruni's album, another one in terms of hommes perdus...

It is not the ability to execute that makes an artist an "artist"; otherwise, good craftsmen would also be artists. Rather, it is ART—the gesture of the precursor, one that is both a product of and representative of its time, and especially that which is the cathartic synthesis of previous artistic experiences, distilled and transcended in today’s representation. This is why "merda d'artista" is of the artist and does not hold the same value as yours or mine, and Fontana's "cat scratch," as you call it, halts the painting in its classical and two-dimensional representation, transcending it into the fourth dimension, which is that of time. It is a profound element of disruption both physically and ideologically with the painting.
To give you an example in music, think of the birth of "tropicalismo" as a sign of its time and as an element of cultural, musical, and political rupture with its past. That is art. Now think of today’s Veloso as a fussy craftsman, making excellent music but trying to steer his research according to the inclinations and demands of his target market. Today, he is an excellent craftsman and no longer the artist of old.
This is why Fontana holds artistic value equal to Caravaggio when both are contextualized. If you’re discussing absolutes, then personal taste comes into play, and we are on an entirely different level.