ajejebrazorf

"tell me a song by Joe, I'll analyze it and then I'll tell you where it’s technically difficult" but that doesn’t mean anything, certainly the fact that Satriani does even simple things doesn’t mean he doesn’t have great technique (because you can say what you want, but they don’t teach just anyone at Berklee), and I’ve seen him come up with some really tough stuff on various occasions. And anyway, if you take pieces like Surfing with the Alien, they’re certainly not within the reach of beginners.

Well, on technique I agree, Hendrix wouldn't be considered an outstanding virtuoso by today's standards. Then the value as musicians is another matter.

But do you seriously believe that Satriani is a technical guitarist???????? The things he does I can do too, and I'm a mediocre guitarist <<<< oh come on, I missed this one.

Among the relatively more recent works of the art ensemble, Nice Guys and Full Force are also very valid, especially for hearing them brilliantly emulate Mingus.

"This film is not worth a Bava, an Argento, an Avati, or a Roeg's “Don’t Look Now.” But in retrospect, Seven still seems to me one of the best thrillers of the 90s, and the fact that everyone has seen it doesn't subtract anything from it. For me, I consider La casa delle finestre e Profondo Rosso two of the best horror thrillers ever made. I would have some reservations about Don’t Look Now, even though the final twist is monumental and Roeg’s class is indisputable (by the way, Poletti, I saw that you said one of your most spectacular nonsense about that: “A simple film, but simple, but so simple that it lacks a script, a shred of direction (which isn’t there, as it’s approximate) and an acting performance that would be more suitable for the church of Santa Cecilia. Basically, only for fans of trash.” A plot that is all dreamlike references and is far too subtle, and an elegantly masterful direction like Roeg’s?)"

"It's not that you need to read and inform yourself to understand a certain contemporary composer": I, on the other hand, believe that often it is just that way. I'm not talking about a specific author.

"ajejebrazorf if you want to say that the compositions of the composers who attended the summer courses in Darmstadt in the 50s and 60s represent a sterile innovation, then I believe you are very mistaken." I refrain from generalizing; there is no such thing as "the avant-garde" as a single movement. I know what atonality is; I mentioned dodecaphony and serialism, and even there I risk generalizing: I only say that if I agree with psycho on the fact that to understand an art form you must first read about it because it is not self-sufficient, it seems to me a failure (I couldn't find a better term). Many works were created with the spirit of demonstrating a theory, so rules were established and followed, resulting in outcomes that, in my ignorance, sometimes seem to be quite uncommunicative. On the other hand, composers like Ligeti, who nevertheless experimented, had a much more "traditional" approach, composing starting from sensations rather than formulas, resulting in absolute expressiveness. Therefore, as with anything else, I find generalizations to be extremely misplaced.

I’ll add something that doesn't quite relate to the review: I just saw the updates on the profile and I loved not loving a few people, and I imagine I’ve forgotten many more, but I got tired at a certain point because as an orgy of love it’s pretty demanding, and then... I would have understood the anonymous ratings on the comments, YouTube style, so honestly it seems a bit like nonsense to me. With affection.

For the little I know about classical avant-garde, I feel in agreement with Sanjuro. In short, generalizations in this field are of little use: I generally don't like many works by those composers who compose as if they were proving theorems, and I believe this applies to many of the Darmstadt composers, to dodecaphony, to serialism. Screw innovation if it's sterile. Meanwhile, I greatly appreciate those who start from sensations, like Ligeti (perhaps above all), Penderecki, Messiaen. Regarding Cage, whom I know little about, I believe he had a great sense of irony, and he seems close to the disenchanted spirit of Dadaism. It seems to me, and I wouldn't want to say nonsense, that he is also considered the founder of gesture music, in which there is a reflection on context, and for which it makes no sense to consider music in isolation. The provocation/reflection is brilliant; seeking value in the notes (in this case, anyway!) seems to count for very little. My two cents, but Manliuzzo's commentary is the comment of the millennium; thank you, you made me lie down.

of all the ones I've seen by Kurosawa, it's my favorite, beautifully everything, from the battles to the music by Takemitsu. I don't know if it's the best film of the eighties, but it's definitely a strong contender.