fusillo

Fazi won't be a bad publisher, but they also publish Melissa P.'s books. :-)

Beautiful!

Ah, years ago I read "Jack Frusciante è uscito dal gruppo." I skipped "Bastogne" and all the other books by Brizzi entirely.

@eletto1987: "... But I doubt the two authors intended to create a generational myth; quite the opposite, it seems to me that the film/book aims to evoke disgust and revulsion towards the character of Alex and those like him." ---> Well, I don’t really think so... Rather, the intention was to make it clear that the instinct for violence is a part of the human soul just like the pursuit of pleasure (sexual, aesthetic, etc...). Indeed, after the Ludovico technique, if Alex can no longer engage in ultraviolence, he can’t even listen to Beethoven or approach a girl... This is even clearer in "2001...": The prehistoric ape finds a thigh bone on the ground in a nice pile of bones. At first, he doesn't know what to make of it, but then, enlightened by Strauss' music, he uses it to smash the skull of one of his kind. The same bone, thrown into the air, after a swift leap forward in time, becomes a spaceship... As if to say, it has always been this way and it will always be so... “Man is certainly not a beauty…” as someone said. Then you are right when you say that "A Clockwork Orange" created unexpected and absolutely unintended phenomena of emulation. As far as I know, Kubrick was not sued but withdrew the film from the market precisely because a gang of thugs was inspired by the droogs. But "disgust for the character" seems completely off to me; on the contrary, Malcolm McDowell was really cool. :-) Regarding Pazienza: just read "Pompeo" to realize that he didn’t see himself as a role model at all; quite the opposite, perhaps he was earlier, but at that moment he was desperate and felt shame for what he had become. If people, especially young folks always looking for role models, choose the wrong ones, well, that’s not Paz's, Burgess's, or Kubrick's fault. But on this, it seems we agree...

"... In the great shipwreck of life, we will all fall." ---> Ah, I’ll note that down... Bye Cpt.

"After this album, the history of music would never be the same. But she could not know it yet." ---> Ah, how I love these impactful phrases... Anyway, among all the websites dedicated to Nick Drake, this is the most beautiful: link rotto

Well, I definitely wouldn’t spend 180 euros to see Keith Jarrett, that’s for sure, not least because he has walked off stage too many times, angry with the audience and the photographers, leaving his two colleagues (Peacock and Dejohnette) in serious embarrassment. When I saw him, ages ago at the Verona Arena, everything went well. After the performance, ten to twenty percussionists led by Max Roach, Tony Williams, and Ginger Baker came on stage. The Standard trio played wonderfully, but those guys created a real pandemonium...

Here ---> Nothing found for Enrico Lupin Downloads Video Tribute_Lupin Mpg there is a Lupin drawn by Mario Verger (he did the animations for many shows on Rai III) with "Planet O" playing in the background, the theme from the very first series.

@psychopompe: "Orientalism for Americans" ---> Well, maybe this is more true for "The Last Samurai" with Tom Cruise... Jarmusch, on the other hand, uses (and very well) cultural paradox, dislocation, strangeness... Let me explain: in "Stranger than Paradise," Jarmusch showed you America through the eyes of two Hungarians; in "Daunbailò," there's Roberto Benigni; in "Mystery Train," there are the two Japanese lovers raised on the myth of Elvis who go on vacation to Memphis, and there are also Braschi and Joe Strummer. Ghost Dog himself is a stranger in his own land and also a huge paradox: he's Black, he's got a belly, and in the high-tech era, he plays the samurai and uses carrier pigeons instead of a cell phone... Moreover, he works for a mobster whose boss, a sixty-year-old Sicilian, sings Public Enemy songs (another paradox on two legs). And the dialogues with the Haitian ice cream vendor, do you remember them? Ghost Dog speaks English, the Haitian French; they don’t understand each other but they perfectly get along... And the most beautiful scene in the movie? Ghost Dog and the Haitian go up to the roof of a building and start talking with a Spaniard (so now those pretending not to understand become three) who is building a boat on another roof of another building... Strange, bizarre, I would even say magnificent!!! You say: "it's well shot" etc... Very true, but this should be taken for granted because there's plenty of substance in this film; you just need a bit of taste for paradox and, I would say, for parody as well... Then, of course, to each their own, right...?