musicalrust
musicalrust
7 feb 23

DeRank™: 17,36

Banco Del Mutuo Soccorso | ...A Cena Per Esempio ... this album is never really remembered... beautiful atmospheres and this piece is wonderful especially in the final crescendo. And what a voice that Francesco has...
 
zappp
zappp
7 feb 23

DeRank™: 25,23

Peter Brötzmann - Nipples

Peter Brotmann (4 of 10)
"Nipples" from: Nipples
1969 (Calig)

#jazzlegends
 
dsalva
dsalva
6 feb 23

DeRank™: 6,95

Peppino di Capri - Un grande amore e niente più - Sanremo 1973 - Remastered HD - (Winner)

#sanremo50annifa

- Hosts: Mike Bongiorno and Gabriella Farinon
- Orchestra: of the Festival; Raymond Lefevre (repeat performances)
- Total songs: 30
- Organization: Municipality of Sanremo (Vittorio Salvetti)
- FORMAT: 1 performance per song, 16 songs qualified for the final night. The selected songs were 32 but the following were excluded: Terra che non senti by Rosa Balistreri (non-original result) and L'unica chance by A.Celentano, who declared himself ill.
By Wright, Faiella, Califano PEPPINO DI CAPRI - UN GRANDE AMORE E NIENTE PIU'
Points 1710 WINNER OF THE 1973 EDITION

Tomorrow the 2023 edition begins......if you have the patience of 50 years, you will know the winner.
 
cofras
cofras
6 feb 23

DeRank™: 6,00

15 Minutes

In perpetual memory of the Brocchi Band cited Jonathan Coe
 
musicalrust
musicalrust
6 feb 23

DeRank™: 27,69

Ingrandisci questa immagine ... My woods
 
JonatanCoe
JonatanCoe
6 feb 23

DeRank™: 27,16

Ingrandisci questa immagine
COELUMBIA
[Action! It's getting twisted!]

Episode [17x 30]
 
JonatanCoe
JonatanCoe
6 feb 23

DeRank™: 15,16

Ingrandisci questa immagine
COELUMBIA
[Action! It's getting distorted!]

Preview [17x 30]
Associated LP from 2001
 
Battlegods
Battlegods
6 feb 23

DeRank™: 18,94

Joe Walsh - You Never Know
Exploring Joe's discography...
 
macaco
macaco
6 feb 23

DeRank™: 4,21

It seems that an artist from the Sanremo festival (yes, I know that together "artist" and "Sanremo" is an oxymoron) has come out saying she wants to "be a whore from start to finish," specifying that by this she means "a determined person, who knows what she wants."

I believe that this semantic clarification from the lady is an interesting cultural index. We might be tempted to correct her, to bring her before a dictionary and make her rethink her verbal choices, but that would be a misunderstanding. She did not misinterpret; she simply used that word in a way consistent with the cultural and cinematic models available (and let’s remember that the use of words is the matrix of their meaning).

After all, how is the "whore" presented in a large part of contemporary pop culture and filmmaking? A whore is an exemplary working subjectivity, "free from unnecessary moralism," who sells herself in a highly flexible manner to the highest bidder. In a certain way, it is an exemplary representation of the "self-made entrepreneur," someone who not only invests their "human capital" without hesitation, but gains an advantage precisely through the ability (compared to those who still suffer from some reluctance) to "not care what others think." For all these reasons, we also face subjectivities that can masquerade as forms of "highly emancipated femininity," self-assertive.

Let’s set aside the obvious issue of the transfiguration that always occurs in cinematography (film whores bear negligible similarities to real ones, and the "glamour" level of the latter is typically deplorable).

The central point is that the conceptual re-evaluation of prostitution is, in fact, perfectly coherent with all the underlying messages of contemporary society. Thus, it is not our "artist" who has misunderstood, but we are the ones misunderstanding our society if we think she has misinterpreted the words. Talking about a whore as a "determined person, who knows what she wants" is not incorrect, but simply assumes contemporary society and its underlying value lines. In fact, within this framework, being "determined" means "having no scruples to obtain what one wants," and "knowing what one wants" means "focusing self-referentially on one's own 'business'," which results in 'securing monetary gain.'

And here, in our society, there are two groups of underlying attitudes: one that concludes from this framework that we live in a world that must be reset and rebuilt; and another that thinks we are witnessing another invigorating progress towards the "fall of masks" and "liberation from remnants."
  
IlConte
IlConte
6 feb 23

DeRank™: 14,34

The Unclaimed The Sorrow

The birth certificate of the neogarage of the Eighties.

The record that set the coordinates for attitude, look, and sound for everything that came after was this 7” released by Dave Gibson for his Moxie Records, the label he founded in honor of his dog and the obscure beat/punk bands of the Sixties, of which Dave is a fervent collector. A passion shared by few others at the time. One of them is Shelley Ganz, who lives just a few blocks from Carondelet Street, Dave's headquarters, and who decided to get her hands dirty with that music by forming a band devoted to Music Machine, Electric Prunes, Chocolate Watch Band, Syndicate of Sound, and Count Five. They call themselves Unclaimed, after an obscure California band from fifteen years earlier, and they roam the city's venues with a beautiful selection of surf and garage covers that many have started to envy. Dave wants them on his label at all costs. And Shelley Ganz, Sid Griffin, Barry Shank, Thom Hand, and Matt Roberts are in. The debut E.P. of Unclaimed is released in 1980, when there's nothing but emptiness around. Four songs that mark the zero point of the garage fever that will soon spread not only in California but across two entire continents.

Four rudimentary, sparse, primitive songs, mostly copied (The Sorrow is nothing more than Train for Tomorrow by Electric Prunes and Run from Home is a clever version of Never Alone by the Five Canadians, NdLYS), played and sung with a roughness but at the same time an elegance that makes them fragile and fascinating yet necessary to imprint something that had been simmering among American teenagers since the release of Nuggets, which had been stifled by punk and was now re-emerging with the "nuggets" released by AIP Records. And at that precise moment, Ganz seemed like the Midas King with raven hair and beatle boots destined to turn every sound coming from those grooves into gold.

Others would have done more and better. But the image of the Unclaimed, black as crows, remains fluttering above all, as a warning and a perennial example.

Thank Rev