aries

"Tammurriata nera" is extraordinary, and reading you makes one want to listen to the rest.

Great review, concise and effective, and an excellent album: a Santana with a truly magical touch that evokes sacred fires.

I have already said a lot in the other review. I do not agree with comparing Luttazzi to the television crap of reality shows, while I appreciate the mention of the cultural crisis of the left and the country. In my opinion, the rise of Berlusconi from entrepreneur to little dictator could have been stopped with an adequate law against conflicts of interest; however, the center-left, despite having governed for 5+2 years, never seriously wanted to implement it and even considered the boss from Arcore a serious interlocutor for reforms. The results have been seen; PD at 26%, with leaders scrambling to explain that it’s not a defeat, that anti-Berlusconi sentiment doesn’t pay off, and to justify why they didn’t enact the conflict of interest law. Speaking of the last sentence: I agree that we are in the midst of an authoritarian drift, but between paratroopers and the X Factor infiltrator, mein Gott, fortunately there are many other choices.

The definition of "horror ante litteram" is sharp: the protagonists and especially their "ideals" should indeed evoke a feeling of disgust; my fear is that, like with Travaglio's books (see my comment on "Papi"), this documentary will only be watched by those who are already convinced; the hope is that it will persuade those who, while voting for Pdl, have serious doubts about their leader. The problem is reaching those Italians whose cultural horizon consists of Boldi's films, gossip magazines, and Gazzetta dello Sport, who mobilize only when it concerns football or to protest against the sale of Kakà; upright family men by day and emulators of the Knight "final user" by night, perhaps convinced that Berlusconi, Lele Mora, and Fabrizio Corona are "cool guys" because they can effortlessly gain prestige and power by breaking the law (or even changing it) or have wealth, privileges, powerful cars, and women without actually being able to do anything. These monsters are the result of a television that is increasingly uneducational: once, to appear on screen, one would engage in some form of art or become an expert in a subject. Today, no: the fact that more and more young people aspire to be a tronista, a velina, or to be remembered as "the dead cat," "the gifted one," or "the farting one" in some reality show rather than learning a trade and profession is alarming. "Videocracy" should be shown in all schools and be the subject of discussion, so that teachers, often substitutes for absent parents, know how to behave.

One of the most beautiful reviews I have ever read on Debaser; you can feel the passion and the desire to share it. I know the early Dylan well, and, while I prefer the electric turning point, I recognize the bite in his almost prophetic storytelling.

I am a fan of the Kinks (whom I consider the best British pop rock band of the '60s), but I had lost track of Ray Davies, and it gives me immense pleasure to hear about his return to the stage and this original celebration of his long career. An intriguing review, well done!

Never excessively loved. On one hand, I appreciated some tracks that evoke Irish atmospheres; on the other hand, I can't stand their rhetoric (even though I share the ideas) and their versions of "Bella ciao" and "Contessa" (which I found crass). Moreover, I recognize that it's difficult to address political or social issues without falling into bombastic rhetoric (see MCR and certain post-Daolio pieces by the Nomadi), into sordid populism (see Jovanotti or Venditti), or into foul language (like much of our local rappers). Yet, there have been those who have managed to do it masterfully, combining commitment and poetry; too bad the so-called "heirs" are so mediocre.

Beautiful review, which reveals a lot of enthusiasm and also humility (a rare quality). I don't know the album in its entirety (serious gap). I really love "Electric Ladyland," but I acknowledge the importance and impact of this "older brother."

The cherry on top of an unrepeatable decade. An ideal album to retrace Battiato's artistic journey, especially for the space dedicated to compositions from the "experimental" period, which have not aged at all. A complete and enticing review for newcomers.

So much ado about nothing...