puntiniCAZpuntini

<< Jimmy Bower (Crowbar) >> Ian Gillian (Black Sabbath). << They're as pissed off as hell. >> Yeah, it's pure visceral rage. Inkazzaty e kattivy.

But Born A Trip, what the hell does it mean?

From a historical perspective, this film cannot objectively reach "Goodfellas," because the latter concerns one of the most important chapters in the history of organized crime, namely the Lufthansa heist. Five million dollars. Get yourself a calculator for Christmas: five million dollars is what Stardust was churning through in just a week. You have a serious issue with "true crime stories"; you can't grasp "who" is telling the stories and, above all, how much that "who" is involved in what they are recounting. Goodfellas is a confession from an incarcerated man who, in an attempt to exonerate himself, spills everything he knows, and even some things he’s not entirely sure about. Goodfellas is the tale of a small fish who briefly met some mid-sized fish. When Rosenthal tells Pileggi "his story," he is free, rich, and happy, and above all, he has escaped tons of accusations. Rosenthal was dealing directly with killer orcas. Do you really think he’s so stupid that to look cool in the film, he reveals everything, everything, everything? Just think about the drugs; in the film, there’s not even the slightest hint of it, aside from the whore-drug addict. Do you actually believe that Rosenthal wasn’t dealing drugs in the craziest joint in the USA and thus the world? Or just think about how many "big names" he has seen in situations that would be better left hidden. In my opinion, if you see in a film "true story" that the protagonist cooks smurfs to turn lead into gold, you believe it. And you even tell people about it. Not only are you boring, you’re downright stupid. Or maybe you live in the countryside and your best friend is a cauliflower named Filippo; in that case, say hi to him for me.

My favorite producer. Rather than mentioning R and SFTD, if you explained that without him Kyuss were doing hard rock and with him they made the last three albums, I think it would resonate more. Maybe also saying that he managed to make Unkle change their proposal, even managing to improve them, would be impactful.

I honestly have a hard time catching it; I need the lyrics in front of me. Besides the puns, you can’t understand a damn thing even in the interviews. For a New Yorker, it’s definitely awesome, just like Cassano was for a Bolognese. I’m sure if I could read it, I’d appreciate it. I definitely listen to it a lot less than I would if I understood at least half of what he says.

I didn't buy it because I didn't trust him (he said at the exit that it was a special record that needed to be listened to without distractions; it takes some courage to say that), I've listened to it a few times but each time it wasn't the right moment. Anyway, it's a record by the "Traditionalists," not by Secret Chief 3. Of course, he always uses the same name for commercial reasons, but to the left, there's the Traditionalists logo; in theory, he should have put their name at the beginning of the title of the work. There are only three of them: him on everything electric, the violinist who's in most of his side projects, and a mandolin player I've never heard of, maybe he plays in another one of those projects he releases with the singles, but I'm not sure.

Rodriguez would have been better off staying with Nikòùla from Beri, sure the Prong, but Nikòùla is from Beri.

<< a window by the sea in June at nine in the morning. >> Sandpaper rolled up on your wrist, a can of primer in your right hand and a can of finish in your left, a brush resting on one of the two cans, and your grandmother waiting for you to start, chatting with her friends about how good her grandson is at repainting the windows.

<< the disease that has always afflicted Americans: gigantism >> And the problem in Palermo is Traffic. The ten-minute speech (and several pages in the printed version) is not about "Gigantism" (a truly unsolvable issue, not a source of immense taxes), but about capitalism which - exploiting the vastness of the USA - already in the sixties showed the flaw, with the big getting bigger and the small becoming smaller, or merely employees. He is critical of large-scale distribution, with the one-size-fits-all cash & carry service instead of personalized service, and especially the fact that large chains don’t know who to pay off, because perhaps the owner lives in London or on the other side of the coast. The quote to mention was the one that said something like "you can’t hit someone in the heart if you don’t know where it is," not the one about going home, which was just a consequence. And "The Marseillais" are not the "Corsican Mafia," which is called Brise De Mer and was a group of mud-stained shepherds wandering with donkeys in the late sixties. Now they are somebody, back then they weren't. And not even "The Marseillais" are the Marseillais you refer to, who is called "Milieu," born in Marseille but didn’t stay still there. The gang (note well: gang) known as "The Marseillais" were four Roman assholes who had connections with the "Milieu" for drugs, and kidnapped people just like all gangs did. In my opinion, from all these mafia movies you watch, you understood shit (due to your limited basic knowledge), but maybe it’s just an impression. However, a strong one. The movie is well made, certainly better than this one about Lucas than that one about George Jung or that crap about Mr. Nice.

He was on tour with Plasma Expander, who are Italian (or at least one of them is) but maybe they live in America. If he had done a "bonus disc" (like the one from Each One) with the same tracks a bit shorter (half the length), it would have been quite appreciated. As it is, it's a bit too diluted even for me, yet not as heavy as I expected.