Mopaga

It is certain that, aiming at the av-Ventura, the demographic and socio-cultural level of the sexual claims der Mutanda remains practically unchanged, apparently capable of getting excited only at the thought of the bank account of the latest latecomer.

If I'm not mistaken, of the three tracks mentioned under the heading "Hard Rock branded by Brian May," only Gimme The Prize bears his signature, but I'm open to corrections in case I make a fool of myself. As for the rest, I agree that it’s an enjoyable album, whether pop, rock, or whatever it is, yet I find it a bit perplexing that if it had been an album by powdered-haired rockers, the rating would have been higher (by the way, it doesn’t seem to me that Queen were icons of image sobriety). Usually, I distance myself from this kind of approach, which I find too self-limiting and biased. The same goes for the considerations about May's role in the album, but here I can understand that it's more a matter of taste. Peace and well-being.

A return to the studio that I had been waiting for. Then I'll move on to vote for it.

I'm joining the 80s groups bandwagon a bit late, and I'd throw in Tears For Fears!

Ahahahah, if that's the case, I've felt that way since the first :) Anyway, yes, the writers were clever in writing Sara (as well as Kellerman) out, always leaving the audience in doubt about her fate. Sara was supposed to be dead for all intents and purposes, with no chance of miraculous reappearances, due to the actress's personal choice (she wanted to become a mom, at least for a while); then, by using the fact that Sara wasn't actually "dead on screen," the writers created the pretext of blackmail against Michael, thus making everything fit together. This is where the "skill" lies because if we had seen the execution, I really don't know where they would have gone with her return to the cast.

@Anatas: it's likely that the ratings were declining, but from what I've read it seems Miller got a bit fed up with his role; if I’m not mistaken, he mentioned in an interview that if there were a 5th season, he wouldn’t guarantee his presence. So it's probably best to have wrapped it up definitively. Four seasons spent between prison and never-ending escape are more than enough. PS: about "La Squadra", at least the old one (with the various Bonetti, Sperandeo, and Wertmuller), I don't agree. Unfortunately, there's no "Distretto di polizia" that can hold a candle to the always rich Neapolitan reality when you tackle a TV series. Not to mention "Carabinieri," a showcase for the various Arcuri, Canalis, and Marcuzzi, set in a town of 2,000 souls, where every day something happened...

@Stoney: I'm not defending Moro as if he were the new Messiah of Italian music. However, I believe that the double standard applied with closed eyes (usually towards people like Carta, Vasco, and Tokio Hotel) is the result of media conditioning (due to the success of "Pensa"), rather than a disinterested approach to his albums, so to speak. At most, some people listened to the two subsequent singles on the radio. Nothing more. This "Pensa," by the way, has backfired on him like a boomerang, perhaps because people expected that he would start scoring some music inspired by Gomorra in all his albums. The fact is that after that breakthrough, he has experienced a significant drop in interest. Now, as you say, compared to Carta and Vasco, Moro would be a god descended to earth, with the difference that what was supposed to be the new social-commercial phenomenon of Italian music now plays at local festivals with 200 people, as has happened in my area. All this to say that frankly, I don’t understand why there is so much animosity towards him; so far, I haven’t read a single comment about him that alluded to his music. I simply consider him a decent melodic singer-songwriter, without any pretensions regarding his contribution to the history of music (I specify this because someone might care). I felt the need to speak up in his favor, that's all. He could also disappear from the scene completely starting tomorrow. @GustavoTanz: don’t worry, he’s not my brother :)

"June Melody" doesn't bother me at all. Here, just to stay on theme, a Marco Carta would dream of a song like this. And compared to a Vasco Rossi who fills "Creep" with na-na-na's, and who wants a world where he can also play at 60 with girls who have just turned 18 (who knows who he's inspired by), Fabrizio Moro comes off as more than dignified. Then again, having blinders on is another story...

Beautiful beautiful beautiful! What can I say, it’s probably my favorite TV show of all time. Sooner or later, I would have tried to write something myself, but since it’s four seasons long, I feared I’d end up rambling too much. Instead, you picked one in particular, which inevitably is the most representative. And yet, even though I’m a fan of the "prison" genre, my favorite season remains the second: the theme of escape "across the USA" has always fascinated me, and given the premises, it’s done brilliantly here. I also liked the comparison made with Dufresne; by the way, they even had the same light blue shirt :) One (slight) note: you could have specified (to help those who know the series only by name) what "safety" would drive a man to get himself imprisoned with the intention of getting his brother out, without having superhuman strength to break the bars or knock out all the prison guards. In short, to talk about that "particular" that had become a distinguishing feature of the character...

At the cost of being unpopular: this kind of anti-reunion intransigence is becoming exceedingly tiresome. And the Savonarolan fervor with which it is expressed is sometimes quite inappropriate, especially in the case of a product that, all in all, I believe to be dignified like this album. In short, no one is discovering hot water when they emphasize the commercial attitude of such a "project." Let's acknowledge once and for all that we are not talking about artists like Mozart or Mussorgsky, who literally died of hunger, but about people who, regardless of characteristics like genius, skill, or ineptitude, and regardless of artistic or purely economic aspirations, are bound to an industry by contracts and contracts (documents that imply adherence to certain predetermined performances), presumably established under conditions of absolute sobriety and awareness (despite the decadent behavior of many artists). It is a noble thing for the intellectually honest musician to strive to produce an album with artistic dignity and not just commercial purposes, but when the album "fails," the accounts must balance out somehow. So Jerry Cantrell deciding to return to the studio, after his solo works, reusing the name AIC follows his "logic," and so what? We know him, and we know we are talking about a great musician, someone who knows how to write songs, knows how to sing, and knows how to play guitar, not just some random bimbo or the latest trendy poseur. If the album doesn't appeal, that's fine, but it’s better to have tried rather than reuniting with this DuVall just to dust off the old repertoire during some summer festival. I interpret that "it's just music" we talked about in a previous post this way. It is pointless to make a drama out of it; we are completely free to select at our discretion the products offered by this demonic industry, and to ignore (where it is impossible not to become aware, we can ignore them from a commercial standpoint) those we like the least. The past cannot be erased, just as what Layne Staley represented for all who appreciated him cannot be erased. Period. But no one is stopping you from ensuring that "The show must go on." Freddie Mercury knew this, and in some ways, he was prophetic. The important thing is to move forward with class; otherwise, we can just as easily spit venom over the post-Barrett Pink Floyd and their deontologically disastrous decision to continue with that Gilmour… whatever his name is...