Tabba In D-Shirt

you'd better withdraw, fool

nothing's shocking is still better than ritual de lo habitual, much wilder and more spirited.

bon jovy poi....

But what is the point of characters like these? I mean, the various Punisher, Vic Sorriso were great when they tried to destroy the records; they were even funny. But insignificant little men like this one—what's the point? Please explain it to me.

sex is violent all life, a group like that can never exist again, let's realize it.

Well, the problem with machina is that it's over-produced, strange for someone like Flood. With a bit more caution, it could have been different since there are plenty of good songs there too. It's really about how it sounds that doesn't convince a lot of people, too layered and the instruments lose warmth, and I don't think that was what Mr. Corgan wanted.

Stars Are Stars and Villiers Terrace were already untouchable in crocodiles; it would have been right to leave them where they were, considering that the first two albums are of a higher level. This ocean rain should be remembered for the shift in the band's style from a pseudo-psychedelic new wave to a baroque and opulent pop, and also because it is the last album by this band that offers something good.

I have a penis, yes, it is indeed true that it’s the critics who are behind the artists (their paycheck depends on them, hehe) and not the other way around. Many artists would do without critics; I’m not talking, of course, about regime artists, who, in order to avoid doing their time, hire their own critics to promote themselves, but people like that shouldn’t even be called artists.

You see, in my opinion it no longer makes sense to talk about popular and cultured; in modern civilization, these two rigid ways of living (instinctive, rational) are intertwined. We are far from the figure of the intellectual who lives secluded in a castle or from the neighborhood life where what matters is impulse and not education. Rock is a form of expression of society in the second half of the 20th century. This society has a thousand facets and is extremely complex from every point of view. Rock inevitably reflects this complexity on various levels, and thus a more in-depth analysis can make sense. However, here we have a detrimental tendency to take seriously not those who work with seriousness, but simply those who appear serious; it is the inevitable outcome of the ancient and never-healed schism between the world of Italian culture and the masses, whereby anything that is “high” must necessarily be considered boring, and everything that is entertaining cannot be "high."

Yes, the problem is precisely the loss of individualism and individuality, in a society made up of associations of every kind, parties, and lobbies; even among pseudo-friends or simply as casual listeners of music, the nuances of every personality tend to be erased. Nowadays, it seems impossible to engage in any conversation without being labeled as a fascist or a communist, as if there were no middle ground or alternative ways of thinking. These are the damages to the identity of our time, along with all the nonsense, mistakes, and unhappiness that this damned obsession with identity at all costs brings—Me, me, me, being the protagonist! I am, I am the protagonist! When will we free ourselves from this facade? The alternative scenes in Italy are not much better than the clichés of the system by now; in fact, in some cases, they are far more pathetic.