primiballi

Italian cinema... yes, the discourse, undoubtedly, is there. Italian cinema has done better, true. But are we so sure that it has done so much better - I don't know - in the last 20/25 years? Because if you mention Fellini, Rossellini, Antonioni, De Sica, etc., I would definitely agree with you. But recently, among pimple-faced kids who are all over each other and putting those damn locks on bridges and pseudo-intellectuals just as pimple-faced spouting generational clichés, don't you think that a Calopresti daring to tell a story, moreover uncomfortable and not obvious, might seem like a giant...?

I don't know about Perugia (I wasn't there), but at the Arena di Verona, KJ did what you were asking for: after the first burst (burst!) of flashes, he politely requested that it stopped. The Italians—I guarantee you that at my age, I see no great difference between the rotary member who is there for show and doesn't understand a damn thing, and the young man from the social center who is there for a different label and equally doesn’t understand a damn thing...—having only rights and no duties, based solely on the principle prepontentotto of "I paid," kept shooting flashes until he rightly departed. Well, I wouldn’t want what I’m saying to come off as too "Nordic" (and in any case, coincidentally, above Switzerland, not a fly ever buzzes, and I can’t remember ever seeing Keith interrupt a concert... who knows...), but if the comparison to the priest doesn’t hold, I’ll give you the one about the Great Chef and the Great Restaurant. If I go there and pay, the rules are his, not mine. If I don’t want to abide by them, I’ll go to a pizzeria. If I don’t behave as Jarrett wants me to, there’s always Ramazzotti... Anyway, obviously, the vehemence isn’t directed at you but at the mindset of our fellow countrymen.

I: I saw the embalmer at the film forum years ago, if I’m not mistaken. I hardly remember it, but I think I liked it.
II: you confuse (I don’t even know who they are......)
bye

Restorative works like these, envisioned, reworked, and assembled by the author, are always significant and, all in all, genuine. In this specific case, we are faced with a magnificent and fascinating piece that I personally place well above some officially unreleased albums (notably "real gone," which I find to be a good work but not great, unlike "bone machine," for example).

@neu! Tastes are tastes, but putting on CCCP and forgetting Conte, Fossati, Battisti...

@contemplation: I believe there is individual behavior and mass behavior, and that both should be taken into account and kept distinct, although they both exist. Two small examples: if, during mass, a group of idiots starts farting, burping, and singing robot songs loudly, either you remove them, or it is right for the priest to interrupt the mass. Similarly, in a nightclub, if a group starts a brawl or something serious (it's been known for ages that punishment can be educational, those who have served in the military know....). At a Jarrett concert, regardless of the rights of Italians, as of anyone else, to see what they've paid for (...please...not at the "party"....anyway, I understood the sense in which you meant it), absolute silence is requested, a task that shouldn't be too difficult for human beings present at a high-level jazz concert (which is often very expensive). Jarrett, like the priest, not being able to throw out the fools, interrupts the mass. I think he is right, and, obviously said with maximum sympathy for you, "it wasn't me" is an excuse that never works, if the teacher is good at teaching (and I go to a Jarrett concert not as if it's a party, but as if it's the best of seminars or lessons). Long discussion. Shall we have it? @Hal: I too am not for competitions, but we're all tough guys and it's known that certain things (like "name the best three albums of the '80s, or is Fenech better or Guida...) stimulate us.... kisses.

@midsun: "I don't think it's your case" seems you haven't even read it. As for the rest of your insulting, cowardly, and spineless response (I would love to see it with a name and surname, not a nickname... you're all lions behind usernames), I would say it speaks for itself. I just think that anyone reading the back-and-forth can clearly understand who first lost their mind. How sad... well: the world is beautiful because it's diverse (but now that I've read the reaction... actually... maybe a good shrink...). Kisses

Well...: indeed, Carter has an unparalleled historical stature. Regarding "signorinismo," you know (maybe) how I feel about it. They could overlook it, but the italioti (who have a rather unique sense of proportion between rights and duties) don’t always have the right to do whatever they want. (I know, it’s an old argument that perhaps isn’t worth reopening... but here we are... I was in Verona among those who applauded the scolding and the abandonment of the stage, not the flashes).

Poletti! You keep sinning, damn it! Go over there, kneel on the hot cracklings and shout 7000 Hail Marys. Right now!

@iside: just to explain. I believe that Mogol was great under Lucio's wing. Before and after, he did things of glaring modesty, with a peak of irritating, bothersome sycophancy in "l'arcobaleno" by Cele (shameful, but it deserves a long in-depth discussion). He remained silent for a long time, and since Lucio's death, there has been an outpouring of anecdotes, tributes, collections (with dual authorship) of ancient unpublished works, carefully curated. In short, I consider him a morally reprehensible person, and I have no respect for him. That said, the fact that he wrote wonderful things only with Lucio and only with Him is beyond debate. This is, of course, just my opinion. However, it is mine, and I stand firmly by it.