odradek

Piero Milesi, true Grasshopper? The arrangements are his, in Anime Salve. Or am I mistaken?

Gentlemen, what a lovely discussion. But, dear Giorrrrrgio, the arrangements, for example, of *anime salve* (and forgive the usual blank on the name and the inability to remedy it, but Grasshopper will take care of it), should be appreciated by a purist of musical quality. And maybe this is the occasion to procure some titles from the composer’s production (come on, Grass, this name is urgent, I'm writing from the office and I really can't remember). You might even like it. If the discourse about music as "background" holds for almost all "cantautori," certain albums by De André deserve a different level of attention, certainly all those from Creuza onwards. I almost completely agree with F; ("sogno n.2" today does make us smile, that's true, but just as we smile, in hindsight, about certain things that concern us, that belong to us), yet even in this, there are, and I repeat, sublime moments.

Their album, without a shadow of a doubt, is the debut, much richer in insights and with a few magical moments. Big Calm is a decent album; it relies somewhat on past successes but has some unnecessary moments and, in some cases, even some bad ones. It can be useful if you’re a DJ, of course. Like a lot of stuff, after all. A little curiosity that the lyrics of jarda do not satisfy: but with this new voice, have they lost or gained? The other one knew her stuff...
How great is Cage on Lascia o Raddoppia, what a beautiful face!!!

I was a bit skeptical when I met him. But he stood up excellently to the listens. Delicate but not weak. Recommended listening.

But, dear Dufresne, then we agree.
It's an act of vandalism, as I’ve already said.
And, of course, a gesture that is anything but vandalic, as you have perfectly understood.
If you've finished peeing, you'll appreciate the fact that your stream isn't splattered on a work of art or on the ground (I hope) but in the appropriate receptacle that someone else, and not the good Duchamp, has graciously provided as an immeasurable gift to us all. It’s a real shame that we don’t know the name of such an inventor. However, I am certain that, despite the undisputed effectiveness of his creation, he couldn’t have been a hunchback.
I’m going back to pee the mail.
Bai bai

I'm sorry, but perhaps a bit of confusion has occurred: ajejebrazorf, you were addressing me, right? Dufresne, you were responding to him thinking you were speaking to me, right? Or is it a sly maneuver to make my already fragile relationship with reality even more tenuous? And if so, for what dark reason?
P.S. Dear Dufresne, I immediately replied to your gray message as soon as it appeared. I believe in six minutes. That much time the response required. But I made 73 unsuccessful attempts to send it, and only later did I realize that it was probably due to a text that was too long, which only today, broken up, arrived on this page. But I had already taken care to forward it to you via private message yesterday. Did you not receive it? Fragmented regards.

I believe I see it this way, but I will have to think about it more seriously.
Great question of yours, Dufresne. Really.
I only regret that it has stirred in me the yearning for an answer that I already regret daring to seek.
But if anyone happens to come by, I would love to hear other opinions,
After reading yours, of course.
Greetings from the den.

The trajectory of the golden jet, curiously, seems to continue that of all of Duchamp's work.
Apparently obscene (What!? A urinal as a work of art?!?) and unacceptable (in 1917!!!)
Today displayed at MoMA, historicized, sanctified, and dead.
Until a "vandalic" gesture brings it back to life.
Back to its life, in the context that generated it.
Which is irreparably "oblique," far from being vandalic.

I encouraged people to educate themselves about Duchamp because, beyond the persuasive perspective from which the musician describes the operation, understanding the "conceptual" context in which the work of the charming Marcel originates allows us to identify in the act performed, far from any vandalistic intent, an attempt at de/vandalization of the work, a subtraction of it from the aberrant logic that dominates the ignoble circus of the Art System.

A detail that is not irrelevant, however, makes it difficult to provide such a definitive answer to your question (which otherwise wouldn’t make sense given the classic nature of the gesture itself). The artwork in question is a urinal. This creates a short circuit.