Mario

idiot

Everyone in my generation and older has lived through a great deception. If we all had to compile a list of a dozen Smashing Pumpkins songs for any playlist, we would surely choose from the early albums up to Mellon Collie. That’s where the Smashing Pumpkins we all loved more or less came to an end – even though I remember all the discussions that took place ten years ago about Corgan's voice, the debate on whether you either loved it or hated it, typical adolescent stuff, battles over the trivial. Then everything changed, a radical leap into the twisted mind of Billy Corgan that dragged everyone along, willingly or not, into the shadowy embrace of the good priest with Adore. Many fell for the first bluff, myself included, after all, I liked a handful of songs from that album. Then we arrived at "Machina" and the terrible follow-up. When we think of the Smashing Pumpkins reunion, if we can even call it that – for me, it’s yet another solo project under a new name – we have to refer to the Machina Pumpkins, the dark and very synthetic ones. And so it all has a very clear reason for existence, and we no longer dwell on random interpretations or unfair comparisons. Finding him up there at Primavera Festival, dressed in Matrix style to gather applause from nostalgic hands, is the last bluff, which began a year ago with a lavishly paid page in the Chicago Tribune, where he begged his former bandmates to party again to soothe that sense of disorientation that he is evidently suffering from. No one believes him anymore, neither old friends nor bandmates, except for Chamberlain, who has been through it all in life, and a sunny spot to spend his retirement is the least of the dreams he's trying to realize with the Smashing Pumpkins 2.0. We don’t believe it anymore either, the ones from back then, because we understood the game right from the start. And we were there, it was for Disarm, Zero, Rocket, Cherub Rock, bwbw, and more than a dozen others…

really a lovely little movie, great ludwig brahms oldman :-)

Whoever says this is a good record is being disingenuous; we'll see in 4 - 5 years who remembers this vile garbage.... we'll see....

ah ok weeping wall, good luck merdat

but that’s what you are weepingt wall, you’re a useless fart destined to be forgotten by tomorrow, congratulations shit

what an awful record.... what a glorious end

"The risk is that the work does not exist in itself, but only as an object of criticism, dangerously resulting in being 'empty.' NO, it means that the work is alive, pulsating, and like those of Lynch, it challenges hermeneutics, representing precisely the infinite POSSIBILITIES of narration and its RECEPTION. Thus, a film is one of the possible declensions of the entity cinema which, in itself, is the infinity of all possible stories to be told and the infinite ways in which they can be told. There is much of Schopenhauer's philosophy in this, the reality as my representation and the true reality which, instead, is veiled."

unpredictable reality, ever-changing, sometimes completely illogical, but not unknowable, I don’t believe Antonioni meant it to be unknowable, great film.

"You should have talked a bit more about the songs but I agree with you."
R.O.T.F.L