mista

I love Megadeth, and I've never understood why everyone says that Peace Sells is the best. Apart from Countdown and Rust in Peace, which are hopelessly better, I even prefer Killing is My Business. In my opinion, Peace is labeled as the best because (at least among the top four) it has the catchiest choruses... I don't know.

Then I would like to specify that I also engage in downloading and I don't feel uncomfortable if it's not original (sometimes I would feel uncomfortable if I had bought some nonsense that I downloaded in its original form). My post was solely aimed at highlighting the undeniable issues that arise from the spread of this phenomenon. It seems excessive to me to point out - as alter-ego does - that the spirit of collecting is even "scary," "anti-life," and antagonistic to knowledge. It seems much scarier to me that a trivial form of entertainment (like collecting the DVDs or CDs we like the most) is attributed such weighty significance. In any case, if you want to convince yourselves - to ease your conscience - that downloading is harmless and that the blame lies only with the "usual monsters" (record labels, etc., which nonetheless have undeniable responsibility, let it be clear), I have no objections, for goodness' sake.

@Sanjuro: I'm back after a couple of days by the sea to join the discussion on downloads. It's clear that I'm not writing music just to sell it (especially since no one buys it from me), but record labels - and film companies - do. If no one actually bought records anymore or went to the cinema, record and film companies would stop producing their artists. Now, it’s true that there’s also the route of self-production and self-promotion, but that route will hardly provide for the musician, who will inevitably end up writing and making music in their spare time and won’t be able to fully live the music, a perspective that could frustrate many and ultimately impoverish the musical landscape.

On the legal front, I specify that downloading is illegal according to law 248/00, not under the Urbani decree.

The overview is interesting, but at times it feels like the text of an advertisement.

I weigh in on the download issue. I both download and buy, more or less in equal measure. As a materialist, which I am, buying always gives me a certain satisfaction; seeing my beautiful DVD-CD collection brings me joy. Furthermore, things that you pay for are undoubtedly more enjoyable (I would have never gone through my old records as a kid if I hadn’t paid for them). That said, downloading isn’t completely to be condemned. It partly helps the spread of arts and rarities, also because it allows you to see/listen to things you might never have bought. But it’s undeniable that, to a certain extent, it hinders the growth of new artists. I speak from personal experience: when I released my first album, our little underground record label made some money from the sales, which it also invested to produce other bands. When we released the second one, we had to wait two years after the recording because our dear label had practically gone down the drain due to downloading (which obviously hit the underground bands first, the ones for whom people used to go out of their way to get their works perhaps by mail just to obtain the rarity). Maybe our second album was heard by more people than the first, thanks to downloading, but our dear label can hardly produce anyone anymore. Sanjuro's solution (nobody buys anything anymore) is a pure utopia because if nobody buys anything, nobody produces anything (and nobody uploads anything on the mule anymore).

I am largely in agreement with the reviewer; having exited the cinema with my critical sense not yet rebooted, I was still entertained. The screenplay is indeed a mess, and I especially feel sorry for how Venom was wasted.

A review that goes against the grain, but explains its reasons. It seems to me that the semi-negative judgment on Fellini is determined more by a lack of understanding of the intellectual demands that motivated the director than by any real censorship of his artistic work. Poletti's comment is - as is often the case - unpleasant and arrogant. When he bombards us with his revisionisms and they are not shared, he calls us sheep and scolds us with phrases like "don’t dare touch the classics, huh?" If someone else dares to critique the cinematic monuments, he insults them by saying they "suck." Truly a gentleman...

Having read the review, I return to congratulate the reviewer and the users who participated. Truly a nice review and a great discussion. Best regards, mista

Damn, there are a ton of interesting reviews and I don’t have the time to read them... In the meantime, I’ll say that the film is one of the most important works of Japanese animation, simply wonderful. Someone mentioned that it’s one of the few (and incredibly expensive) cases where they tried to match the lip movements of the characters with the lines of the protagonists. Perhaps the only flaw (which can also be an element of charm) is the excessive convolutedness of the plot. Visually, it’s a spectacle (perhaps) still unmatched. And the music?! Spectacular, do you remember the obsessive little tune that goes Rasserah Rasserah... damn, and it's from ’87! We’ll catch up again when I read the review.