aries

A hidden gem of an excellent musician and a good songwriter, who unfortunately slipped on a banana peel with "Amico è" (though it's not entirely his fault... in any case, in '82 there were worse things). It's better to remember him for "Aria," which was an international hit. Unfortunately, I only know "Non mi lasciare" from the album, which isn't exactly my preferred style, but it still stirs warm emotions in me.

Hats off. I haven’t seen the film: 4 based on trust.

You made me laugh so hard, thank you. The album made me laugh in another way.

You hit the nail on the head. By now, as MTV clearly demonstrates, sometimes indistinguishable from late-night broadcasts advertising hotlines on private channels, music is often just an excuse to showcase more or less appealing human flesh. What disturbs me the most is that behind this project there is an army of people who have nothing to do with music (well, to be honest, the ineffable J.P.Gaultier did release a 45 RPM in the late '80s; for more information, I invite you to visit the blog www.orrorea33giri.com.)

I believe that by '82 they were no longer a group and that the songs from that year ("The day before you came" uber alles) fully reflect their mood, which must have been rather bleak. A review of Agnetha & Frida's solo works?

Less immediate than "The Stranger," it struck me profoundly because of the icy protagonist. To be reread.

Still an immature disc, pleasant, with original tracks (notably, "My mama said," "Hasta manana," and "Dance" featuring well-crafted arrangements and good performance, but lacking consistency. Several songs, like "Gonna sing you my love song," are saved by Agnetha & Frida. The subsequent "Abba" is much better: that’s where things really start to get serious.

Poe light-years ahead, schizophrenic reception.

What can I say that hasn’t already been said?

The character in question is less bad than the dwarfs and ballerinas of Craxi and Berlusconi's court and unpresentable figures like Calderoli and Borghezio, to whom he was (cleverly?) opposed during his political engagement in Rifondazione (by the way, Bertinotti literally imposed him alongside Ciccio Caruso on his voters, who were quite upset). However, so much rhetoric for someone who is not Pasolini seems excessive to me. I haven't read the book, but I know Luxuria as a "writer" from the articles he occasionally published on the cultural page of L'Unità, which reminded me more of the "serious" little pieces from gossip magazines. As for the character, I find him somewhat annoying and a bit slimy: at the Isola dei Noiosi, he held an irritating little speech on the occasion of his victory; now he has called the press to announce that he is going abroad to change his sex, but that he doesn't want it to be a subject of gossip (which is like walking around with a target on your back and shouting, "Don't shoot me!").