Mike76

@Lewis: Edberg wasn’t a shooting star; he spent 10 years in the top ten, won 6 slams like Becker, had a year and a half at No. 1, but above all, when McEnroe struggled to see the ball with the advent of new rackets, Stefan was achieving results with a CLASSIC PURE serve & volley style. I emphasize pure because other great attackers like Becker and Sampras aimed straight for the ace and then followed the serve to the net.

@Sfascia: Wilander? You know, my first racket was an aluminum Rossignol signed by the curly-haired Scandinavian. But I remember Mats more for the epic Davis Cup challenge he lost against our Paolino Canè in Cagliari in '90.

No Lewis, you shouldn't have said that! After Lendl, only pushers? And you don't know Edberg, Becker, and Rafter?

A truly cult album, it deserves much more than 3/5. The first part, dedicated to the "song form," is indeed the most engaging: "Monocrome Days" is a curious synth+electric guitars crossover that might vaguely remind you of some things by Foxx or Tubeway Army, "Attack Decay" could sound like more elaborate D.A.F., and "Day Breaks, Night Heals" approaches the Kraftwerkian "Showroom Dummies." "Fade Away," the most disjointed and twisted track, could be a song from Throbbing Gristle's "20 Funk Jazz Greats." The four purely instrumental tracks are almost entirely the work of Leer, who regarded the song form as an outdated scheme, and they are interesting experiments in mostly shadowy ambient; I don’t find them boring at all, but they would probably have benefited from being interspersed with the songs. It's a shame there wasn't a follow-up to the collaboration, and it's a pity that the promising Rental (R.I.P. 2000) never attempted to release a solo work. My rating for the album: 4.5.

Tennis can sometimes be a bastard sport, and occasionally, the player who scores fewer points than their opponent ends up winning (like in this case). It was the longest three-set match in history, but it seems that good old Rafa is used to these endurance records (the longest Wimbledon final and the longest match in Australian Open history are his). Anyway, I miss the good old serve & volley.

It was all too easy to predict that artistically it would be a mess, but if you can manage to rake in some cash and do something concrete with it, there's nothing wrong with that.

Duplicate review but well-written and personal. The film is visually a punch to the stomach, but some dialogues (the president's jokes, the duke's monologue about the maternal figure, the stories of the three witches) are equally striking. By far the best film by Pasolini (of the five I've seen).

@Alia76: well, this is the only album of hers I've listened to, but my impression is the same as yours. It doesn't seem to have much to offer to be memorable.

Well, if this is the music that hippies made in the 60s, then I haven't missed much. After decades of electric and electronic music, I personally struggle to get excited about an acoustic guitar and a voice, even though this Devendra manages well with both. There are also a couple of decent tracks like "Ay Mama" and "Owl Eyes," but the rest is a bit flat, if not cloying (particularly tedious "Be Kind" and "Noah," not to mention the opening "Wake Up," which is almost a joke it's so soporific). Ultimately, you can't squeeze blood from a turnip; listening to this album is as thrilling as standing in line in August at the Mestre toll booth (before they finished the bypass).

@Stoney, Silvio says and will say "nonsense," but this doesn't seem like the case.