Greg*89*

It's one of those many bands that lacked that little something extra. For me, they don't deserve a five; they got maximum points simply because in 1966 their songs floated in the same atmosphere as many other groups back then. Innovations come when you're a step or two ahead of the others, and they were? "Anyway, Anyhow, Anywhere" is from 1965 and has the same whistles and crackles as "how does it feel to feel," which you define as the first noises. In short, they didn't become really famous because they didn't have anything more than the others. That's how I see it. However, the review isn't bad.

So, did Walt Disney write the Junior Woodchucks' Guidebook? OK, he created Mickey Mouse, but did he also find time to write the Junior Woodchucks' Guidebook?

"Today, however, the kids around 9/10 years old (and I know quite a few) can navigate the commands of PS3 or Wii much faster, but as far as imagination and their little heads go... let's not even get started!
Who knows if I'll be able to see them at the head of an even more incompetent government than the current one... and here I admit, it takes some creativity, huh?"
Thank you for the keen reflection. I'm serious, what a jab, you've opened my eyes.

As far as I'm concerned, you're right. Especially about the part of being heroes just for being waiters; in my opinion, they can work too, and I don't think it's fair that they have to act like rich assholes. Regarding his comment about wanting to create "culture," he said it himself on stage, that they want to make "culture." I found it arrogant.
However, I admit that I have a large gray area, and they make a bit of noisy chaos with lyrics that aren’t exactly idiotic, even if they sound pretentious. I don't expect much from them, and from what I've seen, a widely visible and famous group that isn't too stupid seemed like a good thing to me.
Of course, your argument is very subtle, and I agree with what you say.

"The Nobel Peace Prize is only given to boring and trivial people." :)
I understand what you mean and I mostly agree.
So, well, maybe there’s some planning behind it, I don’t know, it’s likely, but to me they remain discreet. Nothing sublime though, as I’ve already said.
I’m not trying to make them sound like Shellac or Don Cab.
But it seems to me a dull discourse to ignore this stuff because you don’t recognize the roots or because you don’t know, or because they’re sellouts and it was better before.
I mean, come on, let’s leave that nonsense behind.
Personally, if a 15-year-old listens to them, it’s definitely better than listening to Ligabue. They won’t form a deep political consciousness or anything like that (but who actually has one? The ones who’d burn you at the stake because you sell more records?), but they could be a starting point to maybe discover the Jesus Lizard. You grow a little, after all. Sure, Black Flag was something else, but so was Beethoven.
As for the rest, all the nonsense ends up in the toilet.

Anyway, bletch, I don’t know, it’s the third year I see them there. The first time, I confirm, Tia Capovilla was drunk and no one understood anything, and it’s only them who can’t handle the acoustics well. Last night I saw The Fagetz and, well, they were monotonous like Feed the Dog, but at least everything was clear and without problems. I don’t know what it depends on.

Blecht, Hardrock, and Dedo, let's meet up sometime if you're up for it, rain or shine, we'll grab a beer and have a chat.

The theater of horrors is not a niche group.
They don’t do anything sublime, but they do create something beautiful. So it would be foolish to expect experimental exploits.
This is a fact, whether their audience is more or less valuable is an opinion.
They are not original, but they have quite nice lyrics, and they are pretty energetic; add to that, despite Capovilla being rhetorical from time to time, they have communicated something to a large number of people without being banal or too approximate. And they are quite credible; that’s enough for me.
Experimentation for its own sake done out of poverty of ideas or feelings, which allows one to stay in a corner to feel like misunderstood geniuses (this goes for both performers and listeners), has never been of any use. That’s how I see it.

An immortal director.

Beautiful review and interesting book.