Italy ITALY 2021 - Måneskin - Zitti e buoni

[escYOUnited]

Sanremo 2021: Vote for YOUR favourite!

Loro non sanno di che parlo
Voi siete sporchi, fra’, di fango
Giallo di siga’ fra le dita
Io con la siga’ camminando
Scusami, ma ci credo tanto
Che posso fare questo salto
Anche se la strada è in salita
Per questo ora mi sto allenando

E buonasera signore e signori
Fuori gli attori
Vi conviene toccarvi i coglioni
Vi conviene stare zitti e buoni
Qui la gente è strana, tipo spacciatori
Troppe notti stavo chiuso fuori
Mo’ li prendo a calci, ‘sti portoni
Sguardo in alto, tipo scalatori
Quindi scusa mamma se sto sempre fuori, ma

Sono fuori di testa, ma diverso da loro
E tu sei fuori di testa, ma diversa da loro
Siamo fuori di testa, ma diversi da loro
Siamo fuori di testa, ma diversi da loro
No

Io ho scritto pagine e pagine
Ho visto sale, poi lacrime
Questi uomini in macchina
Non scalare le rapide
Scritto sopra una lapide
"In casa mia non c’è Dio"
Ma se trovi il senso del tempo
Risalirai dal tuo oblio
E non c’è vento che fermi
La naturale potenza
Dal punto giusto di vista
Del vento senti l’ebrezza
Con ali in cera alla schiena
Ricercherò quell’altezza
Se vuoi fermarmi, ritenta
Prova a tagliarmi la testa
Perché

Sono fuori di testa, ma diverso da loro
E tu sei fuori di testa, ma diversa da loro
Siamo fuori di testa, ma diversi da loro
Siamo fuori di testa, ma diversi da loro

Parla la gente, purtroppo
Parla, non sa di che cosa parla
Tu portami dove sto a galla
Che qui mi manca l’aria
E parla la gente, purtroppo
Parla, non sa di che cosa parla
Tu portami dove sto a galla
Che qui mi manca l’aria
Parla la gente, purtroppo
Parla, non sa di che cazzo parla
Tu portami dove sto a galla
Che qui mi manca l’aria

Ma sono fuori di testa, ma diverso da loro
E tu sei fuori di testa, ma diversa da loro
Siamo fuori di testa, ma diversi da loro
Siamo fuori di testa, ma diversi da loro

Noi siamo diversi da loro​

 

[H.P. Lovecraft]

Irama is only like 165cm right? Jesus he is so tiny

He is a singer to be pampered! It has a double function!

 

[H.P. Lovecraft]

This is question for lasse braun, but I want to answer. Sometimes I think that I was born 400 years ago in the Highlands of Scotland ... I really just don't like autotune. But I think that Irama's song is good and modern (I watched the San-Remo, and I like many songs - Musica leggerissima, Quando ti sei innamorato, Amare, but Maneskin - my winners of San-Remo)

Maneskin in my hart I have listened to all their albums, and I do not get tired of them, after listening to them they become better and better for me. Perfect music. I like the timbre of Damiano's voice, I like the emotions in his voice, I adore the lyrics of their songs (I read them in Russian and English translation). I also love Maneskin's style (clothes, makeup), and the impossible beauty of Damiano David awakens in me a poet, artist or sculptor, it's almost a crime to be such a handsome person
I want Maneskin to win Eurovision
Sorry, it's hard to express my thoughts in English

You have expressed your concepts in a crystalline way. When emotions speak, they always manage to reach others. Too often I have imagined living in the past: who knows, some of us have had the ability to live in ancient times and reincarnate. It is fascinating to think about it.

Thank you for the beautiful and balanced words you have had for Irama and Damiano

I don't like autotune either but, if worked in a not excessive and calibrated way, it can open new sonic horizons as it happened when the electric guitar entered the world of music.

 

[crashworld]

Well, when can start a war between Irama and Damiano!

There is no need to. Both gorgeous men can be appreciated together.

Irama is only like 165cm right? Jesus he is so tiny

Pocket-sized. But still darn cute.

 

[Trece]

Well, when can start a war between Irama and Damiano!

İ was like why you posted Manel Navarro

 

[BarefootBoogaloo]

Maybe Fasma goes too far with autotune. His songs are beautiful (last year's was more beautiful) but he abounds too much with this technique.

H O W E V E R

This whole argument is getting exhausting. If people don't like the autotune, I respect that. I take issue with some of those same people bringing up how he doesn't need it, almost in the hopes he will eventually come back with something more 'acceptable'. A music critic literally told him to his face this year that he needed to stop with the autotune because, "we're getting to the end of this trend," and Fasma replied, "Last year I was the first to bring autotune [to Sanremo]. This year as you said, there are other artists, next year, who knows. In my opinion, autotune is a reality that must be accepted."

In a recent interview, he said, "In 2021 I believe that music is without genre. People police me for singing with autotune...I am a product of 2021, like any guy my age, except that I have referenced things from the past, while knowing I have to live in the present for what becomes of it. I wear what I like with a foot in the past, without putting a price on my inspiration.

I don't always feel offended by the criticism. The important thing is to understand them...I know how to make music for the mirror, for the reflection, not for the daytime chorus of others of a hard nature, even the ones that were initially that way...

[Explaining his Manifesto for the Protection of Art] On a bit of a serious note, I think that in any case, art today is owed even more protection, above all the figure of the artist, above all in the period of their emergence. I believe that in order for a plant to grow, it needs fertile soil. The same way applies to the world of art. Many time one looks at the consumerist aspect of art, of music, and this must not happen. Even if the artists did not sell themselves, the products, and knowing how art is, we must protect the figure of the artist, in order to then protect the art. I think that the art is third, the artist is third, we need to thank the art, because the art is the tree. We are not only the fruits, of thousands of types of apples that fall from the tree. No, I do not feel this. I should thank the tree. For certain, we keep art to protect the artists."

In conclusion, I disagree the autotune is so abound that you can't hear him or the musical arrangement, being very passionate about protecting himself as an artist and his output, Fasma's going to continue to release what he wants regardless, if you feel differently, cool cool cool, support your faves and remember to stay hydrated.

 

[H.P. Lovecraft]

H O W E V E R

This whole argument is getting exhausting. If people don't like the autotune, I respect that. I take issue with some of those same people bringing up how he doesn't need it, almost in the hopes he will eventually come back with something more 'acceptable'. A music critic literally told him to his face this year that he needed to stop with the autotune because, "we're getting to the end of this trend," and Fasma replied, "Last year I was the first to bring autotune [to Sanremo]. This year as you said, there are other artists, next year, who knows. In my opinion, autotune is a reality that must be accepted."

In a recent interview, he said, "In 2021 I believe that music is without genre. People police me for singing with autotune...I am a product of 2021, like any guy my age, except that I have referenced things from the past, while knowing I have to live in the present for what becomes of it. I wear what I like with a foot in the past, without putting a price on my inspiration.

I don't always feel offended by the criticism. The important thing is to understand them...I know how to make music for the mirror, for the reflection, not for the daytime chorus of others of a hard nature, even the ones that were initially that way...

[Explaining his Manifesto for the Protection of Art] On a bit of a serious note, I think that in any case, art today is owed even more protection, above all the figure of the artist, above all in the period of their emergence. I believe that in order for a plant to grow, it needs fertile soil. The same way applies to the world of art. Many time one looks at the consumerist aspect of art, of music, and this must not happen. Even if the artists did not sell themselves, the products, and knowing how art is, we must protect the figure of the artist, in order to then protect the art. I think that the art is third, the artist is third, we need to thank the art, because the art is the tree. We are not only the fruits, of thousands of types of apples that fall from the tree. No, I do not feel this. I should thank the tree. For certain, we keep art to protect the artists."

In conclusion, I disagree the autotune is so abound that you can't hear him or the musical arrangement, being very passionate about protecting himself as an artist and his output, Fasma's going to continue to release what he wants regardless, if you feel differently, cool cool cool, support your faves and remember to stay hydrated.

There is criticism and there is criticizing. They are his different things. Many believe they are making constructive criticism instead, from the height of their ignorance on the subject, they are only criticizing. Serious, thoughtful and unprejudiced criticism must be protected as much as the artist. The path of criticism allows growth. It is criticism, observation and the desire to overcome limits that has led art to powerfully express each of its multiple frequencies.

Speaking of Fasma I opened a crossroads:

The first way:

-) The autotune, in my opinion, is similar to the distortion of the electric guitar. This technique can add new compositional possibilities, new stylistic nuances.

The second way:

-) Autotune, I also agree with Orietta Berti and ... Willie Peyote! (translate "Mai dire mai - la locura"), it must be known how to use and dose. Otherwise, we see guys who do not know the music they can sing or who indulge themselves in scarce rehearsals. Irama has shown, compared to Fasma, to be a trained and versatile artist. The autotune of "La genesi del tuo colore" is perfectly calibrated to give the listener a certain type of emotion, it makes sense.

Barefoot, I have loved Fasma since last year, almost as if he were a brother (after all he is a fellow citizen of mine) but he still has to grow, he still has too many limits in singing and in stage presence. Telling him otherwise means deluding him and making him become one of the usual meteors able to move only screaming pimply teenagers.

I agree when you say that the artist must be safeguarded. I really liked this thought of yours. Art is in everything around us and within us, each person can express a wonderful concept at least once in their life but being an artist is different. The artist is an TV aerial always in contact with a super-sensitive world unknown to most, being an artist is an innate talent. The artist must be left free to express himself and not be mortified by the "Politically Correct" and by the industry. But this cannot be an excuse to accept the unacceptable. When I hear some artists hiding behind nebulous reasoning, it makes me laugh. One cannot raise one's art by affirming nothing. It is as if tomorrow I would take a canvas and throw a dirty diaper at it and then shout to the world that this is art. If someone asked me the meaning of my art, I could say "The white canvas is the white perfection of creation. The dirty diaper is the man, white and perfect outside but full of dirt inside. The diaper thrown against the canvas. it means that man's selfishness will dirty the world! ". See how simple it is with good rhetoric to pass a diaper full of poop a "small step for man, one big step for humanity"?

Forgive me ... maybe I'm the Italian Simon Cowell. I am the "bad judge"

Now ... a disaster has been created here! What I wrote! Do you want to have Mauve scold me?!

 

[mauve]

There is criticism and there is criticizing. They are his different things. Many believe they are making constructive criticism instead, from the height of their ignorance on the subject, they are only criticizing. Serious, thoughtful and unprejudiced criticism must be protected as much as the artist. The path of criticism allows growth. It is criticism, observation and the desire to overcome limits that has led art to powerfully express each of its multiple frequencies.

Speaking of Fasma I opened a crossroads:

The first way:

-) The autotune, in my opinion, is similar to the distortion of the electric guitar. This technique can add new compositional possibilities, new stylistic nuances.

The second way:

-) Autotune, I also agree with Orietta Berti and ... Willie Peyote! (translate "Mai dire mai - la locura"), it must be known how to use and dose. Otherwise, we see guys who do not know the music they can sing or who indulge themselves in scarce rehearsals. Irama has shown, compared to Fasma, to be a trained and versatile artist. The autotune of "La genesi del tuo colore" is perfectly calibrated to give the listener a certain type of emotion, it makes sense.

Barefoot, I have loved Fasma since last year, almost as if he were a brother (after all he is a fellow citizen of mine) but he still has to grow, he still has too many limits in singing and in stage presence. Telling him otherwise means deluding him and making him become one of the usual meteors able to move only screaming pimply teenagers.

I agree when you say that the artist must be safeguarded. I really liked this thought of yours. Art is in everything around us and within us, each person can express a wonderful concept at least once in their life but being an artist is different. The artist is an TV aerial always in contact with a super-sensitive world unknown to most, being an artist is an innate talent. The artist must be left free to express himself and not be mortified by the "Politically Correct" and by the industry. But this cannot be an excuse to accept the unacceptable. When I hear some artists hiding behind nebulous reasoning, it makes me laugh. One cannot raise one's art by affirming nothing. It is as if tomorrow I would take a canvas and throw a dirty diaper at it and then shout to the world that this is art. If someone asked me the meaning of my art, I could say "The white canvas is the white perfection of creation. The dirty diaper is the man, white and perfect outside but full of dirt inside. The diaper thrown against the canvas. it means that man's selfishness will dirty the world! ". See how simple it is with good rhetoric to pass a diaper full of poop a "small step for man, one big step for humanity"?

Forgive me ... maybe I'm the Italian Simon Cowell. I am the "bad judge"

Now ... a disaster has been created here! What I wrote! Do you want to have Mauve scold me?!

Lovecraft, are you lecturing again???

On the other hand: I agree with some things you said!

Quote:
-) The autotune, in my opinion, is similar to the distortion of the electric guitar. This technique can add new compositional possibilities, new stylistic nuances.

Since I play electric and acoustic guitar since I am 14, I can relate to that completely. In the beginning I was fascinated with distortion, but within time I realized less is better mostly. You can indeed use autotune or distortion to ADD different nuances, but never overdo this or the song will sound not authetic enough. I just have the feeling that autotunes seem to be a trend right now (Romania, Irama, ect). It shouldn't stand in the centre, just add a fine nuance.

 

[nudiecrudi]

An interesting analisys.

Eurovision: ecco quali sono i Paesi che più premiano o penalizzano l'Italia sul fronte giurie e televoto

Eurovision Song Contest: ecco quali sono i Paesi che più premiano o penalizzano l'Italia sul fronte giurie e televoto.

www.eurofestivalnews.com

 

[nudiecrudi]

For us Australia should not participate.... Don't get any benefits from them.

 

[moop]

alright song for a song without a real chorus. love that they keep singing in italian. hope they atleast hits top ten.

 

[H.P. Lovecraft]

For us Australia should not participate.... Don't get any benefits from them.

I think including Australia in the ESC format was an interesting move However, this move also has its flaws

In the first case, the ESC is training Australia to allow the birth of the Eurovision Asia Song Contest with a consequent increase in power and visibility In the second case, however, I would prefer a "Wild Card" where not only Australia can participate as a host country but anyone can participate, even Japan for example

The second case opens up other considerations:

-) The "Wild Card" can be acquired through a song festival prior to the ESC. All nations of the world can participate in this competition

-) It might be exciting to modify the ESC which could be part of a Eurovision World Contest qualifier tournament

For me, Australia's participation is not so much paradoxical but, respectfully speaking, the UK's participation in any European competition after the desire to implement Brexit I am a person who does not appreciate seeing feet on two brackets

 

[H.P. Lovecraft]

An interesting analisys.

Eurovision: ecco quali sono i Paesi che più premiano o penalizzano l'Italia sul fronte giurie e televoto

Eurovision Song Contest: ecco quali sono i Paesi che più premiano o penalizzano l'Italia sul fronte giurie e televoto.

www.eurofestivalnews.com

The analysis roughly also mirrors what we see on the EscYOUnited forum. It is quite scary to be assured of this. This takes away any musical credibility from the Contest (my humble opinion)

However, I don't want to limit myself to having "crises of persecution" no matter how trivial the systematic fury we have been receiving since we returned. Musical preferences sometimes come out of block alliances and have their roots in some sort of common cultural ground. The sounds, for example, of artists from the Netherlands can positively affect the Scandinavian and Baltic nations. Not only the sounds but also many artists are also known in neighboring countries.This also happens for the Italian melody. Those who often appreciate our music (if we mistakenly define ballads for Italian music ): Portugal, Spain, Albania and Malta and sometimes Switzerland, Germany, France, Greece and Cyprus. Nothing strange, no calculations, this is part of our cultural background. The calculations, however, leave room for surprises: Finland is one of the nations that has most rewarded us!

Now, let's open an intriguing speech, Nudiecrudi. Have you ever noticed that Italy, Germany, France, UK and Spain (the hated "Big 5" ) never win or win little? How is it possible that music markets that include a user base of 60 million and above are struggling so much? The reason is ... a partial disinterest to win (winning means investing money).The ESC is mainly a stage of much smaller realities that would struggle to shine These small realities are very competitive, they live the competition as we Italians live the soccer world cup (I love the epic football battle between us and Germany ). Can you explain to me why it is strange to see hostility and controlled votes?

Lastly, let us not confuse the juries with the viewers, as the article also points out. This year I also saw a lot of affection from our Romanian and Ukrainian friends Sometimes, it must be admitted, the faults have also been ours Only since our return have we honored the competition and started to give light to musical realities deliberately left in the shadows. Today we are experimenting and, although some consider us overrated, we are doing a great job: almost always in the "Top 10" - except when we wanted to give space to an idol of Italian teenagers and the pupil of Italian Oprah, Maria De Filippi) .

Nudiecrudi, we will probably enter "Top 10" and, perhaps, also in "Top 5" (probably also in "Top Big 5" - if the sweet Swiss song wins the French song will be penalized a little) but the victory will be for Switzerland and, I swear, I would be happy for them They deserve it. Anyway ... I would also be happy because it would be a rather comical demonstration of how paradoxical some Eurofans are: when there is Diodato with the song "brings tears" (coincidentally also suited to the period of Covid) Trash is preferred and when we bring the Maneskin we prefer ballads

 

[nudiecrudi]

alright song for a song without a real chorus. love that they keep singing in italian. hope they atleast hits top ten.

Are you sure there isn't a real chorus?
Siamo fuori di testa/ma diversi da loro is repeated so many times and in diverse notes. It is not a classic, predictable and generic chorus.
Anyway I appreciated your opinion.

 

[moop]

Are you sure there isn't a real chorus?
Siamo fuori di testa/ma diversi da loro is repeated so many times and in diverse notes. It is not a classic, predictable and generic chorus.
Anyway I appreciated your opinion.

it sounds to me like a repeated hook tbh but it kinda works.

 

[mauve]

The analysis roughly also mirrors what we see on the EscYOUnited forum. It is quite scary to be assured of this. This takes away any musical credibility from the Contest (my humble opinion)

However, I don't want to limit myself to having "crises of persecution" no matter how trivial the systematic fury we have been receiving since we returned. Musical preferences sometimes come out of block alliances and have their roots in some sort of common cultural ground. The sounds, for example, of artists from the Netherlands can positively affect the Scandinavian and Baltic nations. Not only the sounds but also many artists are also known in neighboring countries.This also happens for the Italian melody. Those who often appreciate our music (if we mistakenly define ballads for Italian music ): Portugal, Spain, Albania and Malta and sometimes Switzerland, Germany, France, Greece and Cyprus. Nothing strange, no calculations, this is part of our cultural background. The calculations, however, leave room for surprises: Finland is one of the nations that has most rewarded us!

Now, let's open an intriguing speech, Nudiecrudi. Have you ever noticed that Italy, Germany, France, UK and Spain (the hated "Big 5" ) never win or win little? How is it possible that music markets that include a user base of 60 million and above are struggling so much? The reason is ... a partial disinterest to win (winning means investing money).The ESC is mainly a stage of much smaller realities that would struggle to shine These small realities are very competitive, they live the competition as we Italians live the soccer world cup (I love the epic football battle between us and Germany ). Can you explain to me why it is strange to see hostility and controlled votes?https://i.makeagif.com/media/7-25-2019/2x49Pt.gif

Lastly, let us not confuse the juries with the viewers, as the article also points out. This year I also saw a lot of affection from our Romanian and Ukrainian friends Sometimes, it must be admitted, the faults have also been ours Only since our return have we honored the competition and started to give light to musical realities deliberately left in the shadows. Today we are experimenting and, although some consider us overrated, we are doing a great job: almost always in the "Top 10" - except when we wanted to give space to an idol of Italian teenagers and the pupil of Italian Oprah, Maria De Filippi) .

Nudiecrudi, we will probably enter "Top 10" and, perhaps, also in "Top 5" (probably also in "Top Big 5" - if the sweet Swiss song wins the French song will be penalized a little) but the victory will be for Switzerland and, I swear, I would be happy for them They deserve it. Anyway ... I would also be happy because it would be a rather comical demonstration of how paradoxical some Eurofans are: when there is Diodato with the song "brings tears" (coincidentally also suited to the period of Covid) Trash is preferred and when we bring the Maneskin we prefer ballads

Well, we need a trashy ballad then or a ballade-like trash from Italy. Well, I loved Diodato AND Maneskin. I hope it isn't a crime to like both. And let's see if it comes to another battle between Italy and Germany this June-July.

 

[nudiecrudi]

The analysis roughly also mirrors what we see on the EscYOUnited forum. It is quite scary to be assured of this. This takes away any musical credibility from the Contest (my humble opinion)

However, I don't want to limit myself to having "crises of persecution" no matter how trivial the systematic fury we have been receiving since we returned. Musical preferences sometimes come out of block alliances and have their roots in some sort of common cultural ground. The sounds, for example, of artists from the Netherlands can positively affect the Scandinavian and Baltic nations. Not only the sounds but also many artists are also known in neighboring countries.This also happens for the Italian melody. Those who often appreciate our music (if we mistakenly define ballads for Italian music ): Portugal, Spain, Albania and Malta and sometimes Switzerland, Germany, France, Greece and Cyprus. Nothing strange, no calculations, this is part of our cultural background. The calculations, however, leave room for surprises: Finland is one of the nations that has most rewarded us!

Now, let's open an intriguing speech, Nudiecrudi. Have you ever noticed that Italy, Germany, France, UK and Spain (the hated "Big 5" ) never win or win little? How is it possible that music markets that include a user base of 60 million and above are struggling so much? The reason is ... a partial disinterest to win (winning means investing money).The ESC is mainly a stage of much smaller realities that would struggle to shine These small realities are very competitive, they live the competition as we Italians live the soccer world cup (I love the epic football battle between us and Germany ). Can you explain to me why it is strange to see hostility and controlled votes?

Lastly, let us not confuse the juries with the viewers, as the article also points out. This year I also saw a lot of affection from our Romanian and Ukrainian friends Sometimes, it must be admitted, the faults have also been ours Only since our return have we honored the competition and started to give light to musical realities deliberately left in the shadows. Today we are experimenting and, although some consider us overrated, we are doing a great job: almost always in the "Top 10" - except when we wanted to give space to an idol of Italian teenagers and the pupil of Italian Oprah, Maria De Filippi) .

Nudiecrudi, we will probably enter "Top 10" and, perhaps, also in "Top 5" (probably also in "Top Big 5" - if the sweet Swiss song wins the French song will be penalized a little) but the victory will be for Switzerland and, I swear, I would be happy for them They deserve it. Anyway ... I would also be happy because it would be a rather comical demonstration of how paradoxical some Eurofans are: when there is Diodato with the song "brings tears" (coincidentally also suited to the period of Covid) Trash is preferred and when we bring the Maneskin we prefer ballads

It's a long long discussion but I'll try shortly to express what I think.
1. Big 5-they all play different games without any strategy. Germany has won and Italy three times very near, from 2010 to 2021.
2. Our problem, or our peculiarity, is that our songs aren't ESC taylored. Most of the countries are used and like those kind of songs. The second problem is block voting. Grande Amore case is a perfect example. We were in the middle of two super powers with huge supporters. Consider that at that time, each jury member had to make a ranking from 1 - 26 in base of 4 elements ( music style, vocals, staging and smth else). Some jury members put il Volo in 24th place which is incredible because you may not like the style of the song but vocals and staging were amazing.
But the huge public vote wasn't enough.
3 Australia. Thinking about voting and ranking its obvious that australians tend to vote for songs in English, very hard for them to appreciate songs in other languages
Sweden and GB benefit more from them.

 

[Franzilein]

I love this thread

 

[H.P. Lovecraft]

Well, we need a trashy ballad then or a ballade-like trash from Italy. Well, I loved Diodato AND Maneskin. I hope it isn't a crime to like both. And let's see if it comes to another battle between Italy and Germany this June-July.

It would be a great idea: a trashy ballad or a sensual trash. Could this be the beginning of a new musical era? As a mascot we will use the little Irama

The challenge between Italy and Germany in football is the clash between two different ways of seeing football:

-) Italy: tactics, exaggerated defense, heart and sudden blows of imagination.

-) Germany: athleticism, organization, offensive pressure and always high-level performance (Germany rarely makes a bad path in competitions while ... Italy, due to lack of concentration, happens to lose absurd groups ).

It is fascinating to see how Italy becomes a real dilemma for Germany, a Germany that beat Brazil 7-1! Probably everything started after "the game of the century". That game was a battle between heroes and both national teams, after that infernal semifinal, would lose against Brazil (which at that time was at an all-time high). Mauve, do you remember Euro 2016? I still feel like crying at our defeat! Damn penalty kicks! We lost the World Cups of '90, '94 and '98 because of them We are too emotional for penalties. Italy in the 90s, early 2000s collected very little and yet ... it was an extraordinary generation. Then in 2006 we had our rematch on penalties! Finally! I hope to see the Europeans a final between Italy and Germany. It's always a fun game!

 

[H.P. Lovecraft]

I love this thread

And... we love you, Franzilein

The Italy thread is a place of games and hard battles! Too much passion! Anyone by any chance have a bucket of cold water?

 

[lasse braun]

this is also very good.