odradek

Oh shit, it duplicated! Double apologies, gentlemen.

Babel, by C.S.I, listen to Ko de Mondo, or Linea Gotica. The lyrics of Giovanni Lindo Ferretti (indeed even in his previous "incarnations," back in the days of C.C.C.P., more direct and caustic) are a unique and highly refined example of writing applied to the song form, though not at all pretentiously sought after. Effective, precise writing, capable of synthesis and strength, sometimes of extreme elegance. And never taken for granted. The sound context in which he operates may not be to everyone's taste (despite being in some episodes one of the peaks of "rock" in Italy over the last 25 years), the blanket judgments on the quality of the lyrics are generally expressed by those who misunderstand their meaning, often mimetic and allusive, sometimes grotesquely declamatory, at other times mockingly "realistic," distilling simple and powerful images. For a handful of Lindo's phrases, I would exchange decades of attempts at poetry in music by renowned "singer-songwriters," without any hint of disdain for the latter (including Guccio, who accompanied me in a distant past, but remains over there for me. Distant in time) - @Primiballi: your hasty "communist ones" seems to be the usual misunderstanding linked to certain iconography, but the discourse is complicated and has been addressed too many times in DeB. There are a couple of reviews where, among the comments, the discussion was articulated interestingly for a while, only to degenerate, as often happens, into chaos. Of course, as a devotee of Lindo, my opinion is doubly debatable as well as utterly insignificant, but I still recommend a close "reading" of his lyrics, freed from any prejudice. Aside from certain remnants of pseudo-iconography (but "...faithful to the line even when the line isn't there" said everything about that, if one listened) it is difficult to trace even a shadow of "communist" sentiment. There is writing of very high quality, I repeat. Certainly in the pantheon of "Italian song," whatever the meaning of such a definition may be. And if such a pantheon exists. Definitely on the podium that I would personally set up, alongside De Andrè and Fossati, for their work on writing. - End of the ad (I do not receive any compensation from Ferretti)

Babel, by C.S.I, listen to Ko de Mondo, or Linea Gotica. The lyrics of Giovanni Lindo Ferretti (indeed also in the previous "incarnations," during the time of C.C.C.P., more direct and caustic) are a unique and refined example of writing applied to the song form, though not at all pretentiously elaborate. Effective writing, precise, capable of synthesis and strength, sometimes of extreme elegance. And never taken for granted. The sonic context in which it operates may not please (although it is still one of the peaks of "rock" in Italy in the last 25 years in certain episodes), the summative judgments on the quality of the lyrics are generally expressed by those who misunderstand their meaning, often mimetic and allusive, sometimes grotesquely declamatory, at other times mockingly "realistic," distilling simple and powerful images. For a handful of Lindo’s phrases, I would exchange decades of attempts at poetry in music by renowned "singer-songwriters," without any hint of disdain for the latter (including Guccio, who accompanied me in a distant past, but remains back there for me. Distant in time) - @Primiballi: your hasty "communists" seems to be the usual misunderstanding linked to certain iconography, but the discourse is complicated and has been addressed too many times in DeB. There are a couple of reviews where, among the comments, for a while the discourse developed in an interesting way, only to degenerate, as often happens, into chaos. Obviously, as a devotee of Lindo, my opinion is doubly debatable as well as utterly irrelevant, but I still recommend a close "reading" of his lyrics, free from any prejudice. Aside from certain remnants of pseudo iconography (but "..faithful to the line even when the line is missing" already said it all, in that regard, if one lent an ear) it is difficult to track down even a shadow of "communistness." There is writing of very high quality, I repeat. Surely in the pantheon of "Italian song," whatever the meaning of such a definition may be. And if such a pantheon exists. Certainly on the podium that I would personally set up, alongside De Andrè and Fossati, for the work on writing. - End of the spot.

OleEinar, the landscapes of Kandinsky are wonderful. Look for some images online and you might be surprised by the freshness and apparent simplicity of that period of the painter, known primarily for his (obviously more important) later works. And seen up close, the richly colored canvases are even more delightful, due to the controlled power of the brushstroke. - Rarer are the portraits, nonetheless interesting: (watch out for the spaces) _ Gli Asia: an automatic removal mechanism intervened many years ago. Even the repeated and excellent pages of mien_mo_man could not (thank God, I’d say) bring them back to the surface.

Come on, Kosmica, like a little fairy! Smack :)

Groooooovy bebiz, thanks for telling me. It's here, now: sitting in the lair (a little less upright) and it sounds just right. And b...

Well, Babel, perhaps it is necessary to clarify a misunderstanding first: I did not write the review in question (Perhaps you were appreciating Alfo's style). It was not, therefore, a response from me. And I understand that an unsolicited interjection might seem curious. But so it is: I intervened because I was, and remain, puzzled by your statements, which oscillate between arguments drawn from "Crusca" and references to an arguable (not in terms of being yours, but in its subjectivity) "good taste" or euphony (God, I fear I am treading into unknown territories and risking looking foolish). Even the point concerning the capitalization of "being" seems to me of laughable importance, I would say... minimal. Not to reiterate and defend an opinion ad nauseam: I say this because I had no doubts about the nature of that being while reading. You see, dear Babel, in my opinion, there was no need, and there is no need, in a context like the one we inhabit at the moment, for such a rigorous application of rules that are often as unknown (I suppose) to most as the ability to convey meaning in a form that seems truly "ours," drawing from one's own lexicon, and sometimes, why not, bending or intertwining it, as you say, even at the expense of the most noble of academies (Academies). I greatly enjoyed some pages on DeBaser, probably marked by a blessed indifference to many subtle syntactic rules (which I probably do not know), and I had to concede after just a few redundant lines that, with equal probability, were written with the meticulous attention of someone who knows those rules inside out but does not, I fear, have the same familiarity with the simple yet arduous task that is communication. That said, I thank you for the learned exposition (this is not sarcasm: I discover unknown things, and for that, I am grateful) and I remain astonished by the torrent of terms which, in their relentless progression, remind me of the equally relentless poverty of my lexicon. Finally, I welcome, even if not entirely directed at me, all sorts of reprimands with joy: it brings me back to a bygone era, where, upon receiving them, it was the most pleasant game to meet the gaze of those who bestowed them. In the wilderness of words, a shelter (boarding house?) can be found; in the incorporeal spaces of the "net," it is easier to get lost and lose meaning. What did I mean to say? I don’t know, but I believe, on this occasion, I am fairly in agreement with myself. Goodbye.

Fabrizio, I don’t remember: did we make love yesterday?

In the second post, there's one "before" too many. It's not Louis (I even got the name wrong in the first post) - I'm going back to water my single neuron, I see it struggling, sorry...

not ) - to be added to the previous post before "time" and after the ....