bogusman

Everyone gets the reviews they deserve, right?

I recently tried to take out of the drawer some memories of "Ko de mondo," and aside from a few interesting insights, I found its atmospheres (both in the music and the lyrics) very tied to the "today" of eleven years ago. Ultimately, unlike the CCCP (who paradoxically were even more definable but spoke a truly modern language), I find the Csi much less Universal, (=capable of speaking to everyone regardless).

I remember having seen this movie, thanks to Fuori Orario, by the ever-praised Enrico Ghezzi... I remember watching, many years ago, a documentary (also directed by Herzog) about the environmental disasters caused by the first Gulf War in 1991. Lakes of oil, black skies, agonizing birds... I remember it being beautiful. Do you know anything about it, El Guevo (or someone else...)?

Shit about Ligabue and the worst bla bla singer that represents Italian music. If Liga is mediocre, as well as the music he makes (and deep down you admit it too, saying that many of you appreciate him... the famous story about a billion flies can't be wrong...) I really don't see why we can't "SPLIT."

Then things are never that one-sided: just think that within the much-talked-about "post punk" there were characters like Ultravox! or Magazine, who, along with the harsh sounds of a seventy-seven school, blended romantic moods and keyboard sounds that showcased a sure instrumental skill.

Punk Rock was NECESSARY. After years of progressive nonsense (in England) and ghastly country pop (in America), there was a need for four assholes to voice their opinions even if they couldn't play. Progressive music had definitely said something meaningful at the beginning (especially through its best representatives), but by 1977, something "new" was needed, even though we all know that Punk wasn't really new, as it recycled ideas and stylistic elements from twenty years prior— but that's another story. Come on, if you're so open to all genres, including techno electronic, you shouldn't be so scandalized by records made with two chords if what comes out is energy and power at the expense of musical technique. It makes no sense to get angry thirty years after something happened; there have been healthier and more beneficial consequences that are qualitatively heavier than the insipience of certain ugly punk albums (which undoubtedly existed).

not bad, come on sempols... they look like Air who have watched a few too many horror movies.

Having been directed by Julian Schnabel (who personally knew both Warhol and Basquiat, as well as the New York art scene of the time, in addition to being one of the greatest "painters" to emerge from that scene himself), I expected a film that was a bit more polished, less naïve and filled with clichés about the figure of the "cursed artist" and bohemian lifestyle. I found Schnabel's attitude ambiguous (in a negative sense, hehe) because, on one hand, it can be seen as a fond recollection of Basquiat, while on the other hand, it does absolutely nothing to shed light on the power-commerce-success mechanisms that were behind that environment. Anyway, you’re right about Debbie Harry... now the old bag is Bowie... : D

But how can we talk about "good" or "bad" punk? Let's discuss the individual bands (the Buzzcocks were different from the Damned, the Dead Kennedys had nothing to do with the X, and so on). You can't just toss a genre (or a movement) in the trash; hell, we're not talking about an album that someone has the right to tear apart or hype up. I don't even "like" reggae, for example, but I would never dream of dismissing it outright because the cross-pollination between genres IS the lifeblood of rock. If you think about it, hell, I'm sure you'll find many artists that are essential to you who owe a lot (or at least a little) to the teachings of punk.

I don't know... it's like holding a grudge against Garibaldi!!!