London

Mike, after London 2012, the Olympics where he took care of all the musical aspects, could have easily retired as he indeed did. I don't know the work, the first "Ommadawn" is stunning. He has done so much for music that he can comfortably cruise on a speedboat in the Caribbean, even thinking a little about that lazy friend of his, Kevin Ayers, who is blissfully napping up there on some cloud.

Thank you. Now Macca is re-releasing Flowers and a review will be forthcoming.

Unfortunately, I haven't seen it in the original language; you can't take away Portman's voice, it's a criminal act. Jackie had a particular accent, and I would be curious to hear how Natalie reproduced it. A very beautiful film about a historical and media figure with many faces, insecure and strong at the same time: a living oxymoron.

The first albums, up to "Cured", I know and appreciate. There's also a lot of mannerism, and indeed, as the good Phil says, not all that Steve produced was golden, but in the Genesis driven by Banks—and I emphasize Banks a hundred times—this material would have never found a place. They wanted "stratospheric" success at all costs, and poor Phil sacrificed his marriage and a lot of money during this period.

Until 10 minutes before the end, I thought, "What the hell is this film supposed to be? A constant stream of references to other musicals?" Then came the twist, and I understood. It's a bitter and cruel film dressed up as 1950s Hollywood, a bit like "Breakfast at Tiffany's." No musical from the golden age would ever have ended in such a ruthless way that brings you crashing back to earth after making you walk among the stars. It's life knocking, asking for space among dreams. I liked it; the reference to Woody's "Everyone Says I Love You" was nice.

He gathered the band for the farewell tour, it seems to me that he's working on the new LP and has taken care of the reissues of all his albums and those of the Go-Go's.

The war scenes are what make Star Wars interesting, because that’s what it's all about. This film isn’t bad, but it doesn’t reach the delightful warrior fairy tale level of VII. It starts off a bit clunky, with characters introduced somewhat poorly, but it recovers in the end thanks to some fantastic battle scenes. The Italian dubbing is, as usual, scandalous in my view. There’s not much to say about the entire saga; it needs to entertain, nothing more, and shouldn’t be expected to explain the meaning of life as some minds seem to demand. Lucas made a film in '77 with so many plot holes that, by his immense luck, he had to make 5 more to explain it. I liked VII; I love female heroines in films and novels. Here, just a computer-enhanced cameo was enough to send the Episode IV aficionados into a frenzy. Great Felicity Jones, who can never be Rey's mother, as some minds had speculated, given her fate.

For me, Maiden are the first two LPs and a few tracks up to the album before the one that is their swan song, "Seventh Son of a Seventh Son," then just tired craftsmanship. But those with Di Anno and Burr were something else.

Prefrisco "Hot Space", side A, where they show they have courage. Here everything is very cheeky and the choruses of Hammer to Fall are quite similar to those of ABBA in "When All Is Said and Done," an honest reference. Tired disco, great singles in the middle of nothing for me, the next one is even worse.

Disco Bello, you’re good.