coolermaster

I, on the other hand, am a mess; I haven't seen a hot girl in years, in fact, sometimes my friends draw a little picture to remind me... I console myself with music, of every kind and sort, including Jazz... I've always been a Melomaniac. The review is very good, except maybe for a few naivetés... and you show, dear Contemplazione, a lot of expertise and passion... If only I had your "six pack" and your pecs instead of writing nonsense on this site, I’d be with that mentioned hot girl banging like a mandrill (just like the God Miles did), listening to a compilation with "Mika," "Suzanne Vega," and the Greatest Ballads of the Scorpions.... "But who is it that’s going back and forth with that door, God....." Regards. ESP is very, very good, even if it's not one of my favorites by Miles.

Dear Punisher, the review could have been alright, but you started with the comparisons... and I’m sorry to say you’re off track! What do Prince or the Beastie Boys have to do with Miles??? Because maybe Purple Rain has stood the test of time today? No, my dear, it hasn’t… and don’t even get me started on the BB; I shudder at the very thought... You gotta fight.... for your Riiighhttttttttt, tooo Parrtttyyyyyyy... Come on, confess, did you smoke a joint before writing the review? You really shot yourself in the foot with those daring (to put it mildly) comparisons...
It would have been better and more competent if you had mentioned Michael Jackson's Thriller (which Miles covered with Human Nature) and the grandiose arrangements of Quincy "The Emperor" Jones... that would have been a much better connection... Doo Bop laid the groundwork for infinite "samples" and "loops" that will contaminate the "Trip Hop," "Nu jazz," "Lounge," "Ambient" scenes and more in the coming years... and by the way, it doesn’t sound dated at all... I first listened to it more than a decade ago... and I thought: damn! Miles! Once again you’ve outdone everyone!... Today I hold the exact same opinion just as I’m listening to it while debasing my post.
Best regards.

@MASHED POTATOES
Don't worry, you made a very valid critique... It's difficult, extremely difficult to compare the Jazz of the '50s and early '60s (whether it was Free Jazz, Hard Bop, Cool, or orchestral) to what came after... Miles created Jazz, at least Bop (along with Parker), he manipulated it, sodomized it, tore it apart, destroyed it, rebuilt it, deconstructed it... Tutu is a good album only because we're talking about Miles Davis, "San Miles mertire"... it's not just anything!!
If it had been produced by some Mike Stern or Metheny of the moment, they would have awarded it 36 Grammys in a row! In any case, I like it more than Amandla and in some parts, as someone says, it sounds like listening to a "Sketches of Spain" adapted to the '80s... But I'm not a reliable source because, as someone says, I'm an OBSESSIVE, possessed by the (evil) spirit of Miles... I also love dooBop, even though the trio "Round Midnight," "Milestones," and "Miles Ahead" are my favorites...

It was a certain G. Romero who gave a substantial blow to the genre with his black and white Zombies... and for the first time a "black" as the protagonist and hero of the film... Then came Hooper and Craven, Carpenter and Friedkin... The genre exploded, but as often happens, it was "traditional" cinema that paved the way... If it weren't for that little gem of a film directed in 1972 by a certain Boorman and poorly translated as per usual into the Italic language "un tranquillo weekend di paura" (Deliverance in the original), there wouldn't have been its hyperbole, namely "don't open that door" and all the films that followed from there, which still today among all the sub-genres of horror enjoy the most success...
And if it hadn't been for "De Palma," the thriller/Horror would have been a bit poorer... just like Spielberg and many others...
And in Italy? Well, Italy has always shown its horrific qualities thanks to undisputed masters like Mario Bava, Riccardo Freda, Lucio Fulci, Argento, Avati, and dozens of others...
In conclusion, horror is anything but a minor genre, which today is going through a terrible moment due to the endless clones of the aforementioned films and that "Teen horror" that is doing so much damage to the genre... Horror can be cultured, aesthetically unreachable, like "freaks," "The Exorcist," "Deep Red," "The Shining," "Dressed to Kill," and more recently "The Silence of the Lambs," "Seven," and I could name many others... I mean, speaking of fear, pure fear, one of the scariest films I've ever seen (where, moreover, blood is rationed) is THE GRUDGE... and I've seen at least a thousand horror movies...
Deep Red belongs to the absolute masterpieces of the genre, despite the "theatrically forced" acting, the usual inconsistencies... Only the initial sequence of the opening credits with the camera panning over that floor made of marbles, dolls... with the Goblins delighting us with the "pure tone" (of the moog) of the Title Track... well... it's a CINEMA masterpiece!! Yes, because that is cinema...
Now, not to bore you further, I bid you farewell...

Ah guys, I think it's better to clarify a bit....
What is horror? THE EXORCIST is PURE HORROR... and also one of the most-watched films and a masterpiece of the genre... also enriched by the soundtrack of Mike Oldfield, that tubular Bells which will secure the success of the artist and Virgin Music...
The first horror film in the history of cinema is from the early 1900s and was about Werewolves... This is to say that horror as a genre was born alongside "official cinema" and was, alongside the western and science fiction (Just think of Voyage to the Moon by Méliès, 1902), one of its first expressions... In the '20s, the (cultured) foundations were laid by German expressionism, with absolute masterpieces such as Murnau's "Nosferatu," "Der Golem," "M - The Monster of Düsseldorf," and "The Cabinet of Dr. Caligari"... the latter two even presented the figure of the "serial killer" to the world, who would only gain undisputed success half a century later... The Americans responded in the '30s with Dracula, Frankenstein, and The Mummy, still bastard children of that "gothic literature," an aberration of English Romanticism from the first half of the 1800s... Then, to completely upset everything, came a certain Danish director, Carl Theodor Dreyer, with his "Vampyr"... a "modern" and morbid film, where the Vampire, Dracula or Nosferatu, completely loses its subversive and gothic charm to become "The Vampire" Cruel for no reason of so much cinema of the '90s... America responded to these European blows first with one of the most shocking and still "cursed" horror films in cinematic history: Freaks by Browning, the same director of Lugosi’s Dracula... A film for which a book would not be enough to discuss: one of the most moving and cursed love stories (because Freaks is essentially a love story) ever to appear on screen... During the dark years of the war, Americans revitalized everything by resurrecting the figure of the Werewolf, only briefly touched upon (also due to evident lack of means) in the previous three decades. It was the son of one of the first "heroes" of American horror, that Lon Chaney, who, following the success of the films by Wiene and Murnau, portrayed, with rare effectiveness, sad and poetic characters in their horror: "The Hunchback of Notre Dame" and "The Phantom of the Opera"... Lon Chaney Jr. perhaps starred in the last true "gothic" film of the genre: the Wolf Man.... and his clumsy and repetitive sequels....
After the war, England, a bit battered thanks to a Turkish filmmaker who immigrated to perfidious Albion... invented MODERN horror.... The production company HAMMER, thanks to the "holy trinity" of Christopher Lee, Peter Cushing, and Terence Fisher (the director), revitalized the figures of Dracula, Frankenstein, and many others, adding (also thanks to color) what was missing in the horror cinema of the '20s, '30s, and '40s: GORE. And within a few years, even SPLATTER... The first dismemberments and eviscerations would be seen thanks to the English company.
Then one day, an English director long emigrated to the United States, already a master of "thriller" and "noir," gave the genre a definitive twist... His name was Alfred Hitchcock, who with "Psycho" redefined the genre once and for all... Hitchcock was also the inventor of that deviant genre from horror (later called animal revenge) with his: THE BIRDS.
The Americans, spurred by such mastery, responded by diving headlong into GORE, taking to the extreme what the British Masters had outlined. The names? Herschell Gordon Lewis, Milligan, Corman, Russ Meyer (who deserves a chapter of his own)... just to name a few... From there, after the turning point of '68, the last barriers seemed to be broken... A whole generation of Beatniks, potheads, and protesters emerged who, as an act of rebellion, embraced horror as a metaphor for the cannibalistic, capitalist, and warmongering society...
A certain G. Romero punched another substantial blow into the genre w

One of the masterpieces of cinema history... Essential... Kubrick was one of the greatest directors of the seventh art... I won't mention the others because, after all, it's art, and as we know, it's subjective... Speaking of "tracking shots"... Among the innovators (even though it wasn't a Steadicam), I'll also include Sergio Leone in "The Good, the Bad and the Ugly" in the masterpiece sequence with Eastwood and Wallach in the cemetery searching for Carson's grave... In America, that scene (with Morricone's score, "The Ecstasy of Gold") is studied in film schools as one of the best moments in cinema... To return to IT, it's also worth mentioning that the Labyrinth (invented out of thin air by Kubrick, as it doesn't exist in King's book) is considered the "Labyrinth" most successfully realized in history, after the one at Knossos in Crete... It is also studied in some architecture faculties... Regards

The trash can of modern Pop... oh my god, modern... When the Bee Gees get screwed by the New Trolls... What emerges is Mika, a creature like skrondo...
Oh my, what an abomination... And anyone who compares him to Mercury has a vague idea of what Pop (understood as popular music) has been in the last 30 years!

The YEAR ZERO of Folk rock... Dylan's "electric" turning point that will forever change American music. "Like a rolling stone" and "Ballad of a thin man" essential...

@Analoguesound

I have always been opposed to "Barbarism," to NaziSkin (whom I would gladly send to the salt mines or to do social work), and I feel sorry for that worker who was killed... I didn't even know about it! Many of my friends are communists or left-wing in general... we have always debated, even heatedly, but we have never crossed the line... Since in the end, we are talking about our interests, which go beyond politics... I also do not identify with this "new" Catholic-Socialist and bourgeois right!! Never! I cordially detest the bourgeoisie as much as I do the people from the leftist social centers I met a while ago... I share some things with the left, and a lot, actually... I damn well admire Bertinotti just as I admired Berlinguer back in the day... I have always cordially detested the DC and its members, even those who today act as progressive wreckers.... And in the '80s between Andreotti and Craxi, I preferred Craxi... and his idea of Socialism that was "for itself" was revolutionary (in Italy) and probably the best form of government possible... Too bad about his greed... He destroyed a new and modern idea... And I love everything that is modern... while also being a lover of history... Perhaps it's normal... The contradiction is the fuel of civil and human progress!
Hello

I give a 3 to the opera just for Carrie’s Ballad and for the catchy Title Track that has accompanied me for at least 10 New Year’s Eves.... A fake, fake, fake sound…. Thank God Sweden then rose again with gothic Metal, Prg. Metal, etc... etc....