Eneathedevil

Are you leaving already? Damn, what resilience. It only takes a fool like me to criticize you constructively for the first time, and you crumble. Come on. I see you've managed to make enemies of the staff based on nonsense. First of all, I've never been kicked out; I don't know who told you that lie: I'm no longer on the staff, but I left due to simple disagreements. Be careful not to say silly things like "the staff kicks people out," because that’s something the staff has never done, so don't create urban legends just to discredit Debaser. I have never deleted any review, never. I've even fought against banning and, I repeat, among the editors, I've always been one of those who worked to correct and publish poorly written submissions. Then there's the Blackdog matter, which is another slander; I assume Trell wants to step in to dispel these pathetic accusations. As a farewell message, you could have done better: you've only managed to cover the site with crap even after me, incapable, indeed, of confronting another user as a user. Your problem isn't the bitterness against me, but against the whole world. Regards.

Oh my, what a complete downfall. Alessio, are you going a little crazy? This own goal of yours with the fake account is a gem: absolutely useless and vulgar, it comes out into the open at the first hint of envy. You know, it happens to me too: when I get angry, I do something foolish, I can't help myself. In this case, however, I manage to do it; your way of acting makes me smile. Leave aside the vulgarity and also the grammatical errors that adorn every comment of yours: trifles. What makes me think is that you have a temperament that leaves one speechless. With that fake account (of which I couldn't have known anything, so it's pointless for you to put on this act saying it was obvious that iride and lamazza were the same person: if that had really been clear to everyone, you wouldn't have needed to highlight it), you go into the playlist to stir up trouble under one of my comments on Sfascia's editorial. Do you realize how pathetic you are? Are you holding a grudge? I won't deny that I myself have held a grudge for your insult towards Debaser's editorials (which was, by the way, not just an insult to me), but I consider that those same attitudes of yours continue, and I critique you for them. Instead, you wait for my comment on an editorial after weeks of my absence to stir up trouble between me and others under the cover of a fake. What a disgrace. For the rest, I repeat, leave the vulgarity aside, I’m not interested. So stop with the insults: they don't affect me. It's delirious. You accuse me of egocentrism, but I've never seen someone so full of themselves. Take a good look at yourself. You write reviews where anyone who criticizes you is showered with insults while those few who agree with you have figured everything out about life. Your perspective is always correct, while that of others is not. For you, only Neapolitans can feel entitled to talk about Naples, and the critique you make of EnBar is mild. And stop with the 1-star ratings on reviews... do you realize that you're not a hero? The barrage of insults towards the Northern Italians, the defense of Southern identity, the generalist jokes about defecation, the angry mood of a young asphalted person are much more clichéd than a review about Throbbing Gristle or a dissertation on patafinica. You do nothing but act as a massified agent, you're too similar to many people I know, far from being a myth of originality. If you want to insult me again, go right ahead... if it makes you feel better, I'm happy to lend you a hand.

Well, I'm commenting because I care about you... but what a mess!

Well, my dear fool, you need to get it through your head that now and then a couple of rebellious souls roam the site looking for a platform for some original idea. By the way, EnBar often gives good reviews, but someone has convinced themselves that if you don't write nice decoupage of vulgar anarcho-qualunquist nonsense, you're only producing crap. The review is good.

Oh, my dear ajeje, forgive me but I had gone in search of spirituality among the natural beauties of the province of Avellino, so I couldn't respond to your latest pearls of wisdom. After addressing, as one must, the matter of my undeniable competence, I reflect and judge: dylanism is not such an unlikely accusation. I could build a well-structured discourse, but why bother in the end? I'll throw a few your way just to put you in a tight spot (how I love it!); you had the usual impeccable punctuality in citing the wrong pieces at the wrong time: "Goodnight little flower," and, worse yet, "Atlantide." Well, the first seems to be a complete transposition of Dylan's ballad "Winterlude," while Atlantide is practically "Three Angels" from Bobone, spat out and written in Italian. It's not just a matter of citationism; he rewrites them in every possible way, and these examples are far too significant. Well, now see what you can do, I know I've bogged you down, but I'm always at the service of knowledge. Sincerely yours.

Oh my gosh, my PC is tilted because the USB stick isn’t easily fitting into the little hole, what the heck am I supposed to do? The review is quite a mess even at an obtuse angle of the PC.

"Freewheelin'": I don't know why, but I always get it wrong.

Ajeje, you are so sweet: you've painted me as a serious and competent guy. However, since a bit of Biscardian controversy is necessary, I must say that the little guitar information from Vincent and company was a hospital case. I've always opposed the purism of origins in the "Freewhilin'" style (but how much better is Blonde on Blonde?), when the guitar is the only companion of love, death, and other nonsense (what a drag!). Therefore, Buffalo Bill full on. And "Santa Lucia" has a peculiar drama that even dreams of "A Rainy Day," with one more organ worthy of an anthology. So long live orchestration, long live rumba, long live rawhide.

Exaggerated, it's true that Checco was a milestone, but to turn him into a saint is quite another matter. Especially since there are those who, in fact, are already trashing his career with this album, so one has to wonder how it’s possible to elevate a singer to uncontested myth after just three and a half mini-discs. For me, the truth lies somewhere in the middle: we shouldn't exaggerate with hyperboles (the Guns are not the antichrist) nor should we be quick to judge that after this there were only trivial songs. I don't understand why "Bufalo Bill" doesn't have the same rights as this, and especially why "De Gregori" wouldn't, which is a darkly poetic album full of little masterpieces like "Generale," "Il '56," "Renoir," "Due Zingari." I totally disagree with those who say this would be the only worthy album. I don't see the grounds for considering it the sole one to be saved: consistently, while evolving, De Gregori expressed a homogeneous musical poetics in the 70s, it wasn't like Zappa, who could switch from absurd rock to concrete music from one month to the next. Well.

I love you from the bottom of my heart!