ajejebrazorf

On YouTube, there's it, although not as cool as the original, both by Sonic's Rendezvous and The Hellacopters... anyway, it's really ROCK.

si-ssi-ssi-ssi-ssi-ssi-ssi-ssiti sleng! What a freaking song! Hard and pure rock 'n' roll!

@contemplation: "Listening to the complete recordings (a friend of mine has them) leaves you a bit disappointed... it seems like the musicians are going completely off the rails, in a totally random way; a kind of jam session but very weak in inspiration! There seems to be a lack of direction, like no one really knows what to play... there's no real project, in short. This time the genius wasn’t Miles, but Teo." I don't think it makes much sense to go see the rehearsals; the album is what it is on disc, and it's a deadly masterpiece. If there’s an album with a project and an idea behind it, it’s Bitches! And Miles plays magnificently as usual, and it’s not random at all (but it seems you’ve mentioned before that free jazz isn’t your thing). Listen again to the solos of Sanctuary or Spanish Key or Pharaoh's Dance... then, while it’s undeniable that the merits are collective and not just Miles’s (or just Macero’s), who cares? Nothing to say about Miles Smiles. Footprints is an orgasm.

For me, even though I didn't vote, it makes sense in the proportions; if I give 5 to "Luci d'inverno," a film much less mainstream, for its absolute nihilism, for its deliberately bare, slow, and anti-spectacular nature, the well-crafted and polished, softened "Il posto delle fragole" deserves a 3. The votes are all nonsense anyway; everyone interprets them as they wish, it's just a way of saying one is much better than the other. Just to be as blunt as you are, for me, "Luci d'inverno" is a masterpiece. It may be criticized, but it has a strength, a courage, and a rigor that make it a masterpiece in the history of cinema understood as a "list of titles that are art." "Il posto delle fragole" is a nice film in the history understood as a "list of famous films."

It's not a matter of taking away from this one; it's a matter of taking away from his other films. "Wild Strawberries" is, without a doubt, even before "The Seventh Seal," Bergman's most famous film. This has led many who may have only seen these two to fill their mouths and talk about "Bergman's masterpiece." The fact is that the other films are much less known, often even more challenging, but I believe a film like "Winter Light" (or even "Persona") is clearly superior. It's not that I'm saying "Wild Strawberries" is bad; I'm not that snobbish; I liked it very much. But it bothers me to enter and read first and foremost the usual clichés and such sweeping judgments: "In a nutshell, the masterpiece"... but in a nutshell, what? Then one enters, sees "the best of Bergman," watches it, maybe it doesn't resonate with them, and they stop there, thinking they’ve seen the best. However, the Swedish director made films that are much more rigorous and profound. Bergman didn't even mention this when asked to express preferences about his films.

Oh my God, instead, that little I know about Kirby I don’t like at all. Then again, I have to say I've never really appreciated the world of superheroes and I’m quite ignorant when it comes to comics (even though I do appreciate stuff like Watchmen, even if the art isn’t anything special, all the credit goes to Alan Moore)... I think we’re at opposite ends in terms of art tastes... Speaking of El Eternauta, I have to say I might prefer Lopez's version, which is drawn in a much more humble and conventional way but is also smoother to read... To see Breccia at his best, in my opinion, you have to check out I Miti di Chtuluh, Perramus, and Rapporto sui ciechi.

By the way, I’ve always found certain misunderstandings hilarious, stemming from the fact that Breccia was just a comic book artist, and so his version of "El Eternauta" was published in "Gente"... GENTE!!! It's like if Joyce had published "Ulysses" in Top Girl, or if they were making ringtone versions of Coltrane, something like that.

It doesn't seem like a matter of thinking differently; then again, it's clear that it depends on what one has read... but Alberto Breccia in volumes like I miti di Chtuluh (by the way, I checked out "lovecraft" by his son and it was a bit disappointing), Perramus, Rapporto sui ciechi, Chi ha paura delle favole, l'eternauta, mort cinder, a certain daneri, buscavidas... is simply from another planet, Goya + Munch + Picasso + Pollock, truly impressive stuff... he’s someone who has used expressionism, cubism, abstract art, pop art, collage, who has drawn with razor blades.... His remark about how if he had to use a hammer to achieve an effect in a panel, he wouldn't hesitate, is quite famous. I believe his son is pretty aware of this too. Then, well, Enrique might be more readable and you can prefer him, there's not even a debate about that, but as far as innovation (damn!) goes, there's really no contest, there's no one comparable to him in the history of comics, there are his epigones, sometimes very good ones, there are other great illustrators, but in the field of "innovation" (for me, also everything else, but taste plays a role too), which is quite an objective fact, there’s really no competition for anyone.

"of all the history of worldwide comics ever" I think Macio Capatonda will copy it from me.

No wait, you can't say something like that. You can say it's simpler, but Breccia padre is simply the most innovative artist in the entire history of comics worldwide, ever. He was still experimenting like a kid in the year he died, are you kidding? Then Enrique is, from what I've seen, a great artist, a great craftsman. You can say he's more immediate... but come on, if we talk about innovation, there's no comparison. You couldn't have picked a more wrong example even if you had mentioned a thousand other illustrators!