puntiniCAZpuntini

I understand that maybe you weren't there and you read something that said so, but since you're referring to things you've read, at least do your research better. The idea that Faith No More were influenced by Grunge Depression is nothing short of colossal nonsense. I've been following them since I have the ability to hear, and over the years, I've read 8,000 interviews with them: never once have I heard FNM talk about depression. Not even from a distance. If instead of talking about Crossover you're talking about Funk Rock, it's even worse because, as I mentioned earlier, the Peppers had nothing to do with the creation of Funk Rock since they were in elementary school when this genre was emerging. If you want to talk about Crossover, talk about Crossover; if you want to talk about Funk Rock, talk about Funk Rock. Do whatever you want, but this page is really hilarious. The idea of depressed Faith No More is one of the best on the site, my sincere congratulations. PS: Listen to John Zorn.

Then you buy the vinyl of Garage Days by Metallica, you open it, and you check what t-shirt James is wearing. You call him and say: Mr. Metallica, why were you wearing the Faith No More t-shirt? And he will tell you: because Jim Martin is a badass metalhead. He (Martin) was the link for metal, and Bill Gould (Bass player & LEADER of FNM) for Funk. Because if you close the conversation with James and call Gould, you'll find out that Gould was crazy about the 70s black protocrossover. What makes me laugh the most about this analysis of yours, though, is that you consider everyone except the most Crossover bands in history, the ones that mixed the most stuff in a single song or album, namely the Zornian school and the Mr. Bungle of Spruance & Patton. Now, about the 80s. That New Wave was sad, nobody is arguing, but the funny phrase is: ‘80s, years invaded by new wave and thus by depression and frustration. There was also New Wave, but it didn’t invade the decade. If anything invaded the decade, it was the cheerful and silly Synth Pop that is anything but sad. Or Glam Rock or Street Rock, which are anything but sad. Or Bruce Springsteen, who doesn’t seem sad to me. Or Metal, which, for crying out loud, takes courage to say is sad. By invasion, we mean something that expands immensely in sales. Check who sold the most in the 80s; you can be sure that the first N.Wave record you find is overly at the 20th spot.

<<< because the attitude of this was generally pure fun >>> But who told you this bullshit? Maybe the Peppers, and only the Peppers, and while the Peppers are one side of a genre, they are just one side, and a minority. There were people doing Crossover even in the 70s, look for something black Funk Rock, then give me an answer: Black Merda, Funkadelic, Sly & The Family Stone and others. That was the first form of Crossover, call it proto-crossover, but that’s what it is.

After this, I need an equally hilarious analysis of a topic of your choice. Thank you for existing. Send it to Bomba.

"Those who consider nu-metal the offspring of crossover are mistaken." Yeah. "The early Peppers were perhaps too challenging for the average listener." Of course. "The '80s, years overwhelmed by new wave and thus by depression and frustration;" Huh? Girls Just Wanna Have Fun. "Another point to specify is that bands like [...] Faith No More did not share the philosophy of crossover." Certainly. "influenced by politics or grunge." Grunge, Faith No More? But wow.

Yes, it's exactly that, 42 strings. Just saying forty-two strings makes me want to laugh :D

It was "fatti". It became affti.

But is the Picasso maybe the QUEEN OF SBORON that Metheny uses when he really, really wants to show off? If so, damn Antò, take a picture in a t-shirt with that.

In this album, it seems to me more like the Madonna than God. What melancholy, here it’s a matter of a very high percentage of homosexuality that stands in stark contrast to the square balls of the other three. It’s nice to have a contrast every now and then, but not throughout an entire album. Those tones aren't doing anything worthwhile. Mina has the most beautiful voice in the world, but she wouldn’t exactly fit in with Sepultura. If he wants to be gay, he can do it with APC where it fits well. In Tool, he ruins the albums. His instrument is only his voice; he spends all day singing, he hasn't participated in the composition, he's strictly a vocalist, and therefore he must adapt his instrument to the others if he wants to make good albums. If Jones played the whole album with a banjo, everyone would be pissed off; Maynard did the same thing, only he’s covered by the enormous instrumental work of the others, over which you could even burp, it’s so impossible to completely ruin things like that. A nightingale's voice in a condor aviary, it doesn't fit, it doesn’t belong, it sucks, it's useless, it ruins. Go home. And come back when you’ve figured out what’s bouncing in your boxers. PS: and if the light bothers you, put on a fucking pair of glasses, it seems simple enough.

In my opinion, it’s all a matter of how you calculate the angle of views in the script, because the conditioned reflex of being, even with excellent photography, can never be related to the plot, except to a minimal extent thanks to hyperlinks and/or imagery. The main point of Hawks lies there, in the middle, at the foundation. But, ugly though.