@Conte: I agree that with your "gluteal" dissertations you've earned some extra points, but don't get carried away: it takes me just a moment to scribble on your liver :)) -
@Davide: just a small note: since you're nitpicking the very young Bonny for not capitalizing "Tartaro," you can't, twice in the same post, use that dreadful "te" instead of "tu." And if it stands out to an illiterate like myself... Then let's get back to the substance of the discussion. You seem to want to avoid acknowledging the context in which you're expressing your thoughts: you were talking to a 16-year-old boy, who's a clear demonstration that the condemnation to "Tartaro" is neither irrevocable nor mandatory. Given your commendable intentions, I invite you to consider the tools you use. I don't think preaching can have any effect, especially in this space. In fact, it often produces the opposite results from those intended. I repeat: write more, share information, throw yourself into the fray and produce contributions. The subject is the record, the work of a musician. Your reflections on broader systems can be interesting too, but in this case, they overshadow the musician's figure in just a few lines. And then: you speak, even in your last post, as if you were the only one who sees the horror that surrounds us. Well, since we're at it, I'll try to clarify the issue with a direct example: starting from considerations similar to yours, about fifteen years ago (but long before that, people were already working in this direction), I, along with a partner, started a record shop (while all the record stores were closing, and even the distributors tried to dissuade us) that focused on music unknown to most, entire legacies of incredibly rich cultures completely relegated to the margins of information. On one side, the REAL ethnic music, the documentation of ancient and overlooked productions, on the other side avant-garde composers, experimenters, amidst jazz and electronic music. Many musicians passed through that little shop, from the Tenores di Bitti to Charlemaine Palestine, from Arvo Part to the Mongolian Shude to Steve Reich. I used to play the records; you had a chair and all the time you wanted. And we collaborated on "Musica '90," which for about 20 years has been organizing events where the music living on the margins of the market is expressed with the due visibility (look online for the programs of the last 15 years, and you'll get an idea). This seems to me a CONCRETE example of how to intervene in reality. And it's just one of many. Today I deal with other things, but the shop is still there, incredibly still open, in the age of rampant downloading. Here on Debaser, there are quite a few people with similar stories. And if instead of pontificating (read post 4, isn't it someone you know? Well, it's simple and honest) you rummage through the vast warehouse of reviews, you'll notice it. Today, for example, on the homepage, there's a page by JakeChambers on a good Sardinian musician, who doesn't exactly shine for notoriety but deserves attention. This is the way to contribute, don't you think? It made me smile a bit earlier, but it ends up being vaguely irritating, considering the insistence even in the posts, the fact that a newcomer explains to us that the world is bad and that he will provide us with the necessary counter-information. Can you understand that? I hope so, as I hope these remarks are clear in their intent, which is not at all persecutory. Have a good day and see you next time.
