ngw

1. To say that Vasco was the first to analyze Italian society (and let's forget about that analysis) is not something I said. Making such a ridiculous claim is equivalent to admitting that you haven't listened to Italian music. Avoid bringing up "teleinformation," I’m not the fan of the singer from the Fiat ad.
2. How is "the African who doesn’t speak Italian well but can make himself understood when he wants"? Sure, a woman goes with the disgusting black guy, and she goes for the car, the whore, with that little piece of fake junkie in the corner, what a jerk! Disgusting.
3. Minghia, he placed some songs with Irene Grandi and Italian pop music, really a great composer! But who are the Television, or the Smiths, or just De André? Here’s Vasco sending people to San Remo to talk a bit about sex. And please, don’t talk about “artists” when it comes to those people, they aren’t and they won’t become artists, not even if you stamp your feet. So wait, even Pupo is a great composer, he has written songs for a bunch of Italian "artists"!
Listen to whatever the hell you want, but don’t try to peddle a so-called pop singer as a guru; commercial maneuvers don’t work on everyone.

What the hell do I have to listen to :) All Italian singer-songwriters, including those progsters, have always, and I mean always, tried to analyze society. With one small difference: Vasco chases after clichés and self-serving ethics (it’s clear, he and his two fans are the "good guys," all the others are the "bad guys," I produced more complex thoughts in 5th grade) solely and exclusively to gain approval from his audience, while others attempt serious analyses, at least in intent.
Of course, you wouldn’t expect Vasco’s fans to have many listens under their belts, but maybe before passing judgment, it’s wise to have a few more. The classic Vasco is the one who tells you something so obvious and taken for granted that you can't help but agree, not for the depth of thought, but rather for the absolute naivety and univocal nature of his ideas that leave no room for any additions whatsoever. It’s a shame that this is then balanced out with a ton of barroom machismo and spineless racism, just to please absolutely everyone.
Musically, he is a nullity, not in a technical sense, but in a compositional one: he adds nothing and takes nothing away; it's rock for church gatherings (at least until he ridicules his collaborators with club remixes and other nonsense). Fortunately, he has his die-hard fans, who are even willing to swallow the crap of the "fan song, the truly sincere one" sold to a Fiat commercial. This album is among the least bad.

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The degree is absolutely justified, damn it, someone who for 30 years sells you textbook ethics, racism, and sexism, all seasoned with a series of clichés that would embarrass Nek, is in every way someone who understands "communication."

Tolkien has always been apolitical.
It’s truly sad to constantly read this bullshit about Tolkien being politically aligned, which has always been based on cosmic nothingness.

But then the conversation isn’t really clear, you suck, you’re only good at attracting kids at best, how much do you even have to ask?
I mean, proportionally, how much should a Fugazi ticket cost? Just check how much they asked when they played in Italy.
Simply put, for a band like the Punkreas, the label of "those who charge little because they are nice" doesn’t fit, that might work for the Skiantos.

If this is a "sincere" record, when it’s clear that the only interest is to be "against" anything, I don’t know what Zen Arcade is.
And to think we had Negazione, Fichissimi, PPB, Wretched...
For me, this stuff is even inferior to Jo Squillo’s Kandeggina Gang, can you believe it?

Well, I feel like I know that Gargamella, maybe we were even in the same car - or maybe the Mantuan countryside was particularly dangerous.
Anyway, it’s clear that the cannons had different effects on us, because at the time the Punkreas always asked for a fortune, and at the last concert I attended, the ticket cost more than two Fugazi concerts (you idiot for going - okay, yes, I’m the idiot for going, and they throw punches and "as long as you hit the drum" philosophy).
They are still the Italianized version of NOFX, so hardcore and ska revival, a particularly ignorant and disgusting pseudo-left anarchoid ideology (did you miss the piece "against" organ donation? :D). Back then (in his "skin") the singer had a BMW if I’m not mistaken.
Nothing to do with the PPB (for those who don't know, a punch in the teeth and Google "Paolino Paperino mangiabudino", those mp3s are uploaded by the drummer of the band, no problem there) who did different things and, most importantly, 10 damn years earlier.

Please, don’t give me anything, there’s nothing wrong with not having the faintest idea of what you’re saying; do you know how many times I’ve read bullshit up here? As I already told you, the first Clash album (s/t) is a cornerstone and a fundamental of early punk, just like "damned damned damned" (I’ll let you guess the name of the band). Not that I’m particularly interested in convincing you of anything, but judging punk bands by their technical ability is so far from having any value that I advise you to avoid discussing with anyone in those terms in the future, also because if you think you notice any technical prowess in the early Clash, I have an idea that you’re pretty confused (or you got some fucking compilation, but then, my dear boy, that’s your fault).
Take the Damned, take the Clash records, not some shitty compilation thrown together by an idiot, take the Buzzcocks, take the Avengers, take the X-Ray Spex, take the Dickies, take the Stiff Little Fingers, take the Crass, in short, take the fundamentals, and after listening to them properly, you might have a more complete idea of early English punk. Maybe something a little deeper than Pistols-Clash-Ramones (considering that the Ramones are closer to surf than to punk, but who gives a shit, yabba yabba hey).
Then you can move on to what that period brought, from American hardcore to the whole wave, to dark, to that strange but wonderful thing that is Wire, and the rest. Ah, just to set the record straight, punk was born from the garages of the Stooges and MC5, from Pere Ubu and from a bunch of other stuff that I don’t feel like writing about. And your shift is broken; maybe you haven't noticed.

Well done, Lorenzo, just look at how some people still get angry when it comes to the Pistols. They did nothing, they couldn't play, and they were puppets, the fact is at least the first two albums by the Clash have aged really badly while NMTB is still wonderfully relevant. We might have been fooled the first time around, but the second one, the one from Swindle, is all yours, *geniacci*.