Eneathedevil

Ajeje, my sweet reticent ferret, hello. Yes, I was referring to people like you who accuse poor Carmen of absurdities, people who can't stand the brainy ones of the situation and prefer "Il gatto puzzolone" from Zecchino d'Oro, yes, yes, that's right. You see, Ajeje, we always disagree and you know it well, so this is certainly not the first time with you: you know that we have been tormenting each other for a while now, and I'm sure you've noticed that the understanding FROM THAT POINT OF VIEW is not the same. To quote Battisti, I would say "You already knew about my womanly problems," but in truth, you often trampled on my emotions, making me wither, you ignored me, you didn’t care for me. Love just does not work between us, which is why I'm trying to FIND other paths, away from a memory, yours, that still drives me crazy, I won't deny it. But you neglect me, say I'm narcissistic, and stab my heart. So, I would say let's take a moment of reflection to dedicate ourselves to nature and the beauties of creation, in order to perhaps rediscover the memory of a connection that struggled to take off, a little palliative for the pains of existence, the scent of your hair that fell inexorably on my belly full of affection... forever yours, Enea.

Kosmo, are you free? No, just curious :)

Oh, ege, it’s the first time we disagree on something, and it feels really nice... it’s our first time and I don’t want to waste it. I want everything to be nicely prepared, the pink candles, the fairy lights, the bathtub with the salts, yes, yes. So, I’m totally fine with your point about "how it’s said" (when I talked about criticism of musical language, I wasn’t referring to you specifically, but to those who generally attack Consoli for obscurity): it’s your personal opinion that I respect but don’t share, since in my view, a mishmash of metric imbalances like that of the Carmen can also sound good, and even if it didn’t, I wonder how important that can be... yes, Gazzè is much more musical, but should we then idolize Minghi, who is musically exceptional when it comes to lyrics? No, I don’t think so, we should just talk about quality, and Consoli seems to have that, that’s all. And a bit more than a charming naive drifter like Gazzè. And now, of course, I’m smoking a Diana Light.

But you’re such an airhead, I’m talking about the after-Barrett... that was something :)))

Oh, well, sorry then, you were wrong at the beginning to lump everything together by indiscriminately talking about Black Sabbath, The Who, etc... For example, I don't know if Black Sabbath did acid like the Beatles did, different value scales.

Yes, they were indeed different from those I knew, especially Gilmour, whom I started to get to know back in the days of Live in Venice, as a chubby, unassuming guy with the look of someone on vacation. However, as I said, they were certainly crazy, on drugs at least during that period, but advocates? Not at all. And since this discussion arose from your mention of authors who "glorify drugs" (your words), I wanted to emphasize that there has never been a hymn to drugs in PF's production, or if there was, it wasn't done in a suggestive way, just to say, between the lines, "Yeah, how nice drugs are," but to go from that to "glorifying" is a big leap. I hope I have found a point of contact now :)

Okay, about the fact that the bourgeoisification happened after TDSOTM, but Pompeii shocked you a bit too much, Caz. Come on, it was just four young lads burping at the table... idiots, sure, but stoned, maybe.

The one in "The Trial" is the best...

I saw Pompeii instead, and wow, it really struck me that the whole drug issue with PF seemed like a bit of a bluff. I don't know, I'm certainly of the opinion that when it comes to the music-drug duo, you know much more than I do, but after watching that DVD, it seemed to me that those four half-baked young men were just playing along with the sadistic allure of drugs through inertia, and that they found absolutely nothing in drugs—just an excuse to cater to the psychedelic demands of the audience, more from "bourgeois" folks as Bogus rightly puts it, rather than from people angry at censorship. Of course, I repeat, you know more than I do, but you’re mistaken in thinking that the aforementioned have a systematic reference to drugs when talking about "One of these days" (which you've brilliantly argued) and even "Echoes": I never believed in a committed reference to drugs by PF, not in the sense that I don't believe what I see in Pompeii or what you say, but in the sense that, as Bogus says, you have to believe in a game that’s more literary than anything else... for the rest, it was all about riding on Waters' "enthusiasm." In short, when I think of Mason's silly little face and compare it to that of someone truly high, whether it's Dylan, Jagger, or Rose, I can't help but laugh; I think he was more focused on the cake when he talked about slicing it up :)

But come on, what sense does it make for Mason to decide that he's going to chop up the drugs one of these days...? Oh please, it's you who is using drugs and seeing things that aren't there! :) Listen, don't touch Echoes because for me there's only the Albatross there, and if you mess with it, I'll report you to LIPU.