aries

DeRank : 1,18
DeAge™ : 7436 days • Here since 30 january 2006
Snoop Dogg Doggumentary
Voto:
"Doggumentary": what is it, a duet in English with Biscardi?
Snoop Dogg Doggumentary
Voto:
Colpo Grosso was an Italian late-night television show that aired from November 16, 1987, to 1991 on Italia 7, hosted by Umberto Smaila, who was replaced in the final edition by Maurizia Paradiso first and Massimo Guelfi with Gabriella Lunghi later; the direction was entrusted to Celeste Laudisio.
The production was managed by GEIT, while ASA Television realized it on behalf of Fininvest, with which the Italia 7 syndication had a contract for the supply of television programs. The episodes were recorded at the ASA Television studios in Cinisello Balsamo. Although it was considered by many critics to be lowbrow and in questionable taste, it achieved remarkable ratings during the time slots in which it was broadcast (around 10:30 PM, reaching 2 million viewers in the second edition), but above all it became a cultural phenomenon in Italy and beyond. The same presenter Umberto Smaila revealed in an interview that the viewing audience that followed the show regularly unequivocally identified itself as middle to upper class.
During the first edition, the studio where the show took place was decorated in a style reminiscent of a casino, and contestants competed in betting and games; the winnings were then used to remove the outfits of the models, who were both men and women. The contestants themselves could strip to raise money to gamble. The goal of the game was to completely undress all the models (the last piece of clothing they removed was the mask over their eyes) and to make the so-called Colpo Grosso, winning the entire jackpot. The contestant with the highest winnings, but not making the Colpo Grosso, had the chance to remain as the reigning champion for the next episode.
Starting from the second season, 7 "vallettes" were introduced, initially called "Portafortuna" and the following year "Ragazze Cin Cin." The "Portafortuna" represented 7 talismans (related to symbols present in some slot machines, such as the ladybug, four-leaf clover, horseshoe, etc.), while the "Cin Cin" represented 7 fruits (pineapple, strawberry, lemon, tangerine, kiwi, cherry, blueberry, etc.), which, in addition to differentiating their costume colors, were present during the segments/strips they performed, in the form of a marker covering one of their nipples. These girls, of different nationalities, quickly became one of the most recognizable features of the show, to the point that the final part of one of their performances was aired every evening during the theme song of Blob.
From the second and even more prominently in the third edition (probably the most successful ones with Smaila hosting alongside Linda Lorenzi, Monique Sluyter, and the curvy Tiziana D'Arcangelo), while maintaining casino-inspired games, the cash prize was replaced by a paid trip abroad from the production and the program's sponsor (the Panto fixtures company, to which a specific game had also been dedicated in some seasons), and the models became exclusively women, each representing a European nation. Finally, references to geography and travel were included in the set design, which changed significantly from that of the first two editions (inspired by an airport in 1989/90 and a cruise ship in 1990/91 and 1991/92). During the second and third editions, the girls were often given original names such as "Esagerata," "Scappatella," "Maria la O," and "Tripla," while in the later editions, in the event of a Colpo Grosso, the final theme song featured the full striptease of one of the girls, called Superstar, sometimes a "Cin Cin" from previous years.
In the German version broadcast by RTL, contrary to the Italian edition, cash prizes were maintained for each girl that the contestant managed to strip with the points acquired.
The last Italian edition was hosted by Maurizia Paradiso (who was already known to the late-night audience for having hosted some erotic shows on various local televisions) and Gabriella Lunghi. The latter, following Paradiso's departure due to disagr
Area International POPular Group Live @ Festa Democratica, Milano 07.09.11
Voto:
A beautiful reunion that does not merely celebrate the glories of the past, but takes from the past to build a new musical journey. The experience with Stratos was unique and unrepeatable, but Fariselli & Co. have always shown, right from the start, that they can create superlative music even without Demetrio's contribution.
Little Richard Here's Little Richard
Voto:
I quote comment no. 13.
Grateful Dead Grateful Dead (Skull & Roses)
Voto:
Nothing more to say than what has already been said.
I Dik Dik Suite per una donna assolutamente relativa
Voto:
An experiment that deserved better fortune. As far as I know, it is their only album that strays from the "greatest hits" formula... The rise of prog pushed many artists in vogue to rethink themselves and explore new paths. Perhaps the Dik Dik paid more than others for their "dancehall" beat connotation, and thus, despite having produced a valid product (thanks to their undeniable professionalism and the support of Herbert Pagani, an excellent lyricist who in France, with the album "Megalopolis," achieved a well-regarded blending of singer-songwriter and prog), they were not deemed credible. Ironically, in 1974, with the group returning to tried-and-true "little songs," Totaro was replaced by Joe Vescovi (a great keyboardist from the Trip, still with the Dik Dik) and drummer Panno was substituted by "Cucciolo" Favia (already with the Osage Tribe).
François Truffaut Jules e Jim
Voto:
Hats off! I've seen very little of Truffaut, my fault :-(
Paolo Sorrentino This Must Be The Place
Voto:
I really appreciate Sorrentino as a director and storyteller... the story reminds me a lot of the protagonist in the novel "Hanno tutti ragione," which I highly recommend. Of course, Sean Penn dressed like that is truly unsettling... he looks like a transgender person.
Pink Floyd The Final Cut
Voto:
An excellent album, rich in content and well performed. However, you can feel it lacks something to be truly a Pink Floyd record (even though Gilmour, in the rare moments when Waters gives him the opportunity, makes himself known).
Death In June Nada!
Voto:
I quote Wiserson.