Just finished reading The Biography. Honestly, pretty gripping stuff. It’s wild when you realize that just thirty years ago, someone could churn out three whole albums, yet leave behind nothing but the music and a few grainy photos... there isn't any other physical trace left. It really makes you stare at how insanely fast the world moved toward digital media. Drake did one interview once, and there's only this one single recording of him speaking that survived by pure luck—not a single scrap of film or TV footage to be found.
shree_kali said:Man, I swear, I love these kinds of people... either you agree or you don't—how are you even supposed to have a conversation with someone like this? And then they throw in those patriotic motives that are so thin they wouldn't even hold up in a bowl of soup... the question basically translates to: "who are the biggest plagiarists among American or foreign artists?" —so what? "God bless America"? What does that even have to do with anything?
Exactly... I can be patriotic on a forum, but that doesn't mean these guys aren't thieves. It's just like how Bob Dylan might be a controversial figure, but that doesn't mean he's a thief when it comes to music...
Paul Mendoza8 said:Look, fine, I get it. Maybe my suggestion doesn't fit the criteria because it wasn't a massive hit at the box office, but then what is Very Bad Things even doing on this list? That movie was a total cash cow...
Now, this one is the sequel. It didn't exactly break any records—honestly, I'm pretty sure it barely broke even. But just like the first one, it's an absolute gem of a movie...
It’s really not even that weird when you think about it. I remember seeing a few of Borowczyk's films pop up on NBC back in the day... I distinctly recall catching his Immoral Tales during some random late-night slot once...
velvetotter26 said:I read his biography last summer; I actually have the book sitting at home right now.
I actually just picked up a copy at Best Buy for $30 the other day. 😎 It looks pretty solid. I’ve only made it through the foreword and the intro so far, but even that was enough to drop some knowledge on me about stuff I never even considered. For instance, he’s buried in the same small local cemetery as another guy I have massive respect for, Mario Andretti—an absolute legend on two wheels, and one of the best to ever do it. Plus, the guy was a hero for stepping up to help pull other drivers out of burning wrecks back in the day, especially when he moved over to Formula 1... If I'm ever in that neck of the woods, I'll definitely stop by to leave some flowers on both their graves.
Look, it's true—the movie is way worse than the book, which is pretty much how it always goes... but I still kind of dig the film. My biggest gripe, though, is that it leans way too hard on the plot and doesn't spend nearly enough time on the actual development of Humbert's obsession and that raw longing. In the book, those emotions are just so perfectly captured... like that scene where he’s so mesmerized by Lolita's beauty that he actually drops to his knees and crawls toward her just to hold her leg because he's totally speechless. It's that specific blend of worship and paranoia, that sheer intensity, that makes the book such a masterpiece. I get that the movie misses all of that, but honestly, I wasn't expecting it to be there. The vibe of the film works for me, and if you stop viewing it through the lens of the book, it's actually a decent watch. (And let's be real, Sue Lyon is gorgeous, even if she was a bit too old for the part... 🙂 )
Carol Long95 said:Maybe the movie wouldn't feel so incredibly basic if I hadn't actually read the book first. I can't help but go into these crazy comparison spirals... and honestly, the film just falls way, way short compared to the novel.
I’d sign to be this—if it wasn't for Sellers. That guy alone carried the whole thing and bumped the quality up by at least 50%...
If we’re talking about a solo Robert Fripp show or even just a full Crimson set, I’d be down to trek all the way from Ljubljana... But this specific lineup? Just wasn't worth my time or my money...
Last summer, during that one month when everything went south—from the moment my mom was diagnosed with aggressive cancer until she passed away—Waiting for a Call was basically the only thing I could listen to. (And look, even in normal times, I can't function without music playing in the background). His regular albums have always been great, but they never hit me quite like this one did. Even now, I find myself circling back to it constantly... there isn't a two or three-week stretch where I don't put it on. I'm not saying you need to be going through a mental breakdown like I was back then, but it definitely helps... In the meantime, I’ve been preaching this album to everyone I know, and one buddy just told me, "I don't even know how I lived without this until now." Don't feel bad if you didn't discover Drake sooner; better late than never. Besides, there are hundreds of incredible musicians out there that, by sheer luck of timing, we might never even get around to hearing.
The movie isn't exactly highbrow—not that I’m claiming to be any genius myself—but man, it’s hard not to love it. There's a big difference between being smart and just having a good time... 😁 Especially when they storm into a club where The Blasters are playing!
Black Dog said:Who do you guys think is the greatest songwriter in rock history?
I've got two heavy hitters in mind: Jimi Hendrix and Paul McCartney. Oh, and Leonard Cohen too. Plus Mael Bratac from Sparks... But honestly, it's kind of like asking what makes the perfect band. You can't really pin it down globally, maybe just by genre or whatever...
Jeffrey Green16 said:Hell yeah, I’ve got that one sitting there as a bonus track on Demons & Wizards.
Yeah, Thain played on that record. But then again, I noticed the exact same track popped up as a bonus on Look At Yourself, even though Newton is actually the one playing on that one... 😕 Honestly, whatever, man. Anything from the early Uriah Heep days hits right in the feels for me...
Jeffrey Green16 said:If he actually played on that WHY track, then I guess so. That whole thing is just... man... 🎉 👋 :klap: 👋 :klap:
Uh... it wasn't on any of the standard studio albums, and from what I can tell (I don't recognize the song), it sounds like it comes right from that window when Paul Newton was leaving the band and Gary Thain was stepping in... So, honestly, it could be either one...
I think I’m going to have to give this movie another shot. It’s one of those rare Antonioni flicks that just didn't click for me on the first watch. Though, if I'm being honest, my main issue is probably going to be the exact same thing that tripped me up last time: the sound, specifically the score. What really gets me about Antonioni's earlier stuff—especially in Adventure—isn't actually that stunning visual beauty everyone loves to obsess over, but something even more captivating: the soundscape. Those films are packed with these heavy, dominant sounds... foghorns out at sea, the low hum of industrial plants, the roar of traffic... I’m so obsessed with that layer of sound that I’ve actually been thinking about ripping the audio from those movies onto cassettes, just so I can listen to them in isolation, strip away the visuals, and see if they still hold up on their own. Starting with Uvecanje, Antonioni begins using music much more aggressively, but unfortunately, he loses a huge chunk of that unique sense of sound in the process (even if he can still pull it off for maybe the most intense, visceral moment in a film, as that ping-pong ball scene proves). See, once you start layering music into a film, you force the audience to make a judgment call on whether they actually like the tunes or not. Hancock's music isn't bad—not by a long shot—but it doesn't pull me into the world the way Pink Floyd or Jerry Garcia does in Zabriski Point. Even though that movie didn't totally blow me away either, I found myself getting way more sucked into the auditory experience. In my opinion, Antonioni won't truly find that perfect synergy between sight and sound again until his controversial, somewhat underrated film, Identification of a Zen. That’s the only place where I think Tangerine Dream, John Foxx (and maybe David Sylvian, if my memory serves), will provide the kind of musical texture needed to color the characters' emotional states, much like the raw ambient noises and drones did back in the early sixties. I don't know, maybe that kind of balance exists in Blow-Up too, I just haven't been able to quite touch it yet... which is why I'll probably try watching it again sometime soon.
Is it even a movie? I wasn't really planning on seeing this, but once I realized it was a Joe Dante flick, I got hyped and dragged a few people along to the theater... Honestly, I probably had more fun than they did. The best part has to be when they're plummeting toward the ground (right before they run out of gas) and Donald Duck pulls out his cell phone to call his agent: "Quick, dump all the Warner Bros. stock. Bugs Bunny is gonna die!" 😁
redcrane28 said:I can't speak for everyone else, but as far as vocals go, I'm feeling like Tom Fogerty today. Honestly, someone else just throw in some instrumentalists for me...
You're thinking Tom Fogerty, Stu Cook, and Doug Clifford? 😁 Man, that's actually pretty close to a perfect lineup...