AA.VV.
All Music Show

One of the flagship products of the entertainment industry made in Italy draws on the context of comedy, which in recent years has tended to slip into a strict dichotomy that is still impossible to separate: on one side reigns the politically-incorrect parodies aiming to desacralize politicians (real, fake, or presumed), deputies, senators, and electoral brawls; on the other tip of the iceberg of Italian comedy triumphs the trash-absurd component, which has now become the perfect hallmark of Italian laughter. This trend started with the ancestral successes of the acclaimed De Sica-Boldi duo and their cinepanettoni—cinematic productions bordering on vulgarity from the countryside—and continued with similar success up to the degenerative absurdity of I Soliti Idioti. The fashion of trash purely for comedic purposes has invested almost the entire factory of Italian humor, contaminating TV broadcasts and programs.

Despite the "black" trail of waste produced by cinepanettoni and the like, all this trashy, blunt, very sexually suggestive mass, dense with double entendres and spicy jokes, has also had excellent moments and flashes of "genius." This is partly due to the skill of some actors and comedic companies, who have perfectly shifted from classic humor of jokes and witty remarks to trash absurdity, maintaining or even improving the inherent comedic potential in the gags they proposed. This is the case, for example, of Marcello Cesena, a sublime creator of Sensualità a Corte and its related catchphrases.

Within this discussed framework of entertainment stands out, somewhat unchallenged, the All Music Show container, aired on the now-defunct channel of the same name, heir to the even more remote Rete A and precursor to the current Deejay Tv by Albertino, Linus & co. The program, hosted by the attractive and buxom Pamela Rota, presented itself as a "big box" of columns and parodic and disrespectful fiction aimed at annihilating soap-operas, teleshopping, fortune-telling, and scandal investigations in a whirlwind of surrealism, unreality, stupidity, and eccentricity. The (good) result of such visual trash earned further points with the presence of established comedians such as Maccio Capatonda and Rupert Sciamenna (also active in the sections of Mai Dire...), whose performances made a context perhaps a little too absurd and ridiculous more enjoyable and flavorful to be developed by actors lacking experience in the field.

The jewel of All Music Show was without any doubt the fake soap Intralci, a true mockery of the classic intrigues of love, death, and little sweeteners from 1000 or more episodes. From the perverse necrophilia of Medico Maceti, to the naivety of his wife Brut, passing through the paroxysmal amenities of Enzio (in whose body father and son cohabit), the annoying outbursts of the wife Anna Luce (later deceased), and the surreal sketches of the couple Giacchia-Alonzo (husband and wife, but also mother and son apparently in an incestuous relationship), the corrosive and pushed comedy of Intralci represented the right remedy to the nauseating sweet-and-sour narration of soap operas like Beautiful.

The show's catalog under analysis was nevertheless quite rich: there were the useless gadgets proposed by Jim Massew, the "fittest man in the world", the poor performances of the astrologer Mirkos (often confused by fake viewers as a meteorologist), the surreal proposals of Cechu (parody of Cepu) to increase one's intellect, as well as the fake investigations of Unreal TV, moreover located in non-existent and invented places.

In short, All Music Show was a decent/good container of parodies, trash, hyperuranic absurdity and verbal libertinism, yet proposed by outstanding characters, never boring or predictable, capable and professional. Although the television "exploits" of Maccio Capatonda, Rupert Sciamenna, and colleagues can be (even currently) watched on other channels and other shows, those tiny and forgotten, yet significant and valuable, performances of All Music Show are to be considered a good moment in the chronological line of trash made in Italy.